About The Production – Three Sisters

Feature-Three Sisters

We recently sat down with the talented cast and crew behind the upcoming production of Three Sisters. This adaptation of Anton Chekhov’s masterpiece captures all the comedic, tragic, and bittersweet moments of life. Meet the ensemble who are pouring their hearts into making this timeless tale resonate as deeply today as it did over a century ago.

About Three Sisters

What is this Production about?

After the death of their parents, something essential is lost in the lives of the Prozorov sisters – direction, purpose, and hope. In a small provincial Russian town, their days pass quietly, filled with memory, longing, and unspoken desire; Irina longs to work and lead a life of independence. The fiery Masha is married to the sweet but unpassionate Kulygin, and privately burns for excitement. And Olga, the eldest, intelligent and loyal, has found herself living a life of subservience; she gives, and gives, and gives. All three look to Moscow as a symbol of the happiness they believe awaits them somewhere along the horizon – their lost paradise. 

In Three Sisters, life unfolds between what is and what might have been. In this fragile space, faith, hope, and love rise like quiet prayers. The balance between laughter and tears is delicate; people talk with the deepest regrets while pouring tea, and dream of better futures while tripping over their own feet. 

Written with humour, nostalgia, and deep compassion, Chekhov’s masterpiece tells a story of the passage of time and the persistence of hope. These characters are not distant figures from another time – they are us today, with all our joy, fear, desperation, desire, loneliness, and silence.

What’s challenging about bringing this script to life?

It’s quite the undertaking for our little company! We are working with the largest cast we’ve had thus far (11 people), using improvisation and Stanislavsky exercises to introduce freedom of movement and spontaneity while also being conscious of the size of the Old Fitz. Our director has carefully cast each of the characters, so we are in that stage of the rehearsal process where we are bringing detail and specificity to our performances whilst also remaining open to one another and trusting such a large ensemble to deliver a stellar piece of work. After all, this is a play that has no leading characters – we are each just a small piece in the grand picture of this play.

Toby

What sort of person is going to love this show?

Those who love Chekhov, and hopefully those who don’t! Every writer has a style and ethos. We hope to create a whole new following of his plays and stage it in a way we believe hasn’t quite been done yet. His unique humour and persistence in the face of adversity is a story that rings true even now – especially now. It’s easy to fall into the trap of making his plays dramatic and serious, but when has life been only that? Our aim is to show it all – from the tragic, to the comedic, to the in-between sweetness where our lives often sit. As one of our characters says: ‘Je suis content. Je suis content.”

What will the audience be thinking about in the car as they drive home after this show?

Hopefully, they’ll be thinking of themselves and who they’re going home to. ‘Three Sisters’ is as relatable now as it was then, 125 years ago. We want the people in the audience to see in each of our characters someone they’ve loved, someone they’ve lost – someone familiar, someone that’s just like them. How much has our need for family and kinship really changed since this play was first staged in 1901?

Another important facet of this family is that they are dreamers. “We will go to Moscow”, “Brother will become a professor”, “I shall work”, “I will be happy”. But, as the story progresses, how many of these beliefs manifest? This is as much of a cautionary tale as it is a family drama. At the risk of sounding cliché, people should leave the theatre thinking “This is my dream. And I MUST achieve it”. Don’t wait like they did. Don’t let life happen to you. What do you want out of your story? At the very least, it should revitalise you, make you want to be a good person.

No pressure.

Call someone out by name: who must come see this production?

Joel Edgerton!!!

As a collective of young, aspiring actors and creatives, his story keeps inspiring us to put out work we want to see on the big and small stages across Sydney and beyond (and the big screen too, one day). The greatest gift we have as a small company is working with each other, surrounding ourselves with like-minded and brave artists. People who have something to say. Likewise, his and his friends’ drive to produce work they believe in and to share stories that perhaps aren’t told very often echoes in our philosophy as well.

And his work! Most notably, his recent feature ‘Train Dreams’ is one we were all moved by. It’s something that immediately draws you in, creating an atmosphere that earns its sprawling moments of silence and tension. It’s about a simple man in a simpler time, with simple ambitions of starting a family and working.

Sound familiar?

Where can patrons purchase tickets to this production?

To book tickets to Three Sisters, please visit https://www.lastwaltzproductions.com/three-sisters.

Thank you so much for sharing your insights today. Break a leg; we are looking forward to Three Sisters filling the Old Fitz with laughter, tears, and plenty to reflect on in the quiet moments of life.

Other production interviews can be viewed in our About The Production Series.

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Perfect. A Triumph For Easter Weekend

St John Passion

St John Passion Rating

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8

75 years ago, the director and Chief Conductor of Sydney Symphony Orchestra was the renowned Eugene Goossens.

Goossens conducted concerts in the Sydney Town Hall, but he had a loftier goal: a grand concert hall at the heart of the city. Goossens lobbied relentlessly, campaigning for a world-class venue. It was his vision that led directly to the creation of the Sydney Opera House.

I imagined the ghost of Goossens, looking down from the gods, in the Sydney Opera House Concert Hall, as Brett Weymark conducted Sydney Philharmonia’s Symphony Chorus and Baroque Orchestra in Bach’s St John Passion.

Brett Weymark championed classical music in Australia long before he was appointed Artistic & Musical Director of Sydney Philharmonia Choirs. His devotion was honoured in 2021, when he was awarded the Medal of the Order of Australia for services to the performing arts through music.

You may have heard Weymark’s work but never known it. He was the conductor for the movie scores of ‘Happy Feet’ and ‘Mad Max: Fury Road.’

Eugene Goossens fled Australia, mired in a sex and occult scandal that ruined his reputation and destroyed is career. Thankfully, Brett Weymark’s reputation as one of Australia’s foremost conductors continues to grow from strength to strength. This year’s Bach’s St John Passion is his latest triumph.

One of the great joys of life is connecting with others through music. Singing in a choir, surrounded by other voices is a magnificent visceral experience.

 

 

Do you sing bass or tenor? Sydney Philharmonia Choirs are currently looking for more basses and tenors.

The Acknowledgement of Country was ‘Tarimi Nulay: Long Time Living Here’ by Yorta Yorta composer Deborah Cheetham Fraillon, translated into Gadigal by Matthew Doyle. This work is hauntingly beautiful.

Language is important, and fortunately for those who speak neither Gadigal nor German, programmes were available online and in hard copy. Following the dialogue is key to fully understanding St John Passion. It highlights the callousness of Jesus’s persecutors, and the genius of Bach, hearing the music bouncing with glee as the chorus humiliates Him on the journey to the crucifixion.

The soloists within this oratorio played their respective roles to perfection.

Timothy Reynolds tenor rang through the concert hall as he narrated the action as the Evangelist. Christopher Richardson took the baritone role of Jesus with reverence. Andrew O’Connor portrayed the stress of Pilate dealing with the enraged mob.

Penelope Mills (soprano), Ashlyn Tymms (mezzo-soprano) and Michael Petruccelli’s (tenor) arias shone.

Bach wove together passages from the Gospel of John, extracts from the Gospel of Matthew, Lutheran Chorales, and his own arias based on poetry from contemporary Passion librettos.

Hearing the Sydney Philharmonia’s Symphony Chorus sing Bach’s Passion is a wondrous experience. Every member of the choirs and each player in the Baroque Orchestra is to be commended and congratulated.

A public service announcement: addressed to the lady that stomped in late during Part 1, in what sounded like wooden clogs. She was roundly shushed and hissed for disturbing the audience as she clumped to Box C. If you are delayed and running late, the least you can do is take off your heels / tap shoes / boots and tiptoe quietly to your seat.

St John Passion was a beautiful, liminal performance, created by world-class artists.

To book tickets to St John Passion, please visit https://www.sydneyphilharmonia.com.au/events/bachs-st-john-passion/.

Photographer: Keith Saunders

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Umm…What Else? Mitch Dale Entertains Everyone at The Comedy Store Too

Umm...What Else?

Umm…What Else? Rating

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4

I imagine that being a comedian would be quite a challenging job. Some people are naturally funny, but that doesn’t necessarily make them a “born comedian”, as one may think. To do this for a living, comedians need to be multitalented – they are both specialty writers and actors (cue the timing and the delivery of a joke) with a certain amount of bravery to be up onstage with a microphone. They need to have a quick wit and response time when interacting with an unpredictable audience. I watched Mitch Dale at The Comedy Store Too at Moore Park in Sydney, and he had all of these talents! His one hour set for Umm…What Else? was a hilarious!

Mitch’s comedy style for this show varied from quick quips/ play on words/ short funny interactions with the audience, to delivering longer amusing tales about growing up in Australia. He is a talented storyteller who captured my attention from the beginning. For example, when he talked about casseroles and how after being slow cooked by the end of day, everything has turned to mush, yet the potatoes still have some crunch! And rugby. The interesting thing about Mitch’s delivery of his material was that he did it in a very understated manner where he cleverly picked a point and wove it into his story. It was like a dropped hot chip surrounded by seagulls – there’s a small beat as the audience listened to his words, and then once we realised his point, we jumped on the joke, laughing! “I played rugby, because I’m from Queensland, and I have a dad.”

 

 

The topics of the night were ones that were aimed to amuse all ages in the room. Mitch talked about personalised number plates, uber drivers and his trip to Japan – all of which was relatable to most of the audience, going by their enthusiastic responses. Mitch also catered for the older generation. It was interesting that he mentioned his childhood and how his parents had him answer the home phone as if he were in an office. It’s amusing because it’s true – back when families had landline phones, some parents made sure everyone answered in a formal manner. I remember calling my friend on their landline, and the younger five year old sibling of my friend answered the phone like this, it was very cute. I suppose there is a generation now who wouldn’t have had the experience of this, or of waiting a few weeks for a computer to be built so that it could go into it’s own special room in the house lovingly nicknamed “The Computer Room”.

Mitch also talked about how he got his name and shared some experiences with his health, and amazingly, he managed to turn even these more serious subjects into something funny. He had the knack of telling a life situation with honesty and humour.

During this set, Mitch was quick to respond to the audience. Instead of picking on that person and teasing them mercilessly, he interacted in a respectful and humorous manner. He clearly has a talent in quick thinking and response situations. In the lead up to Christmas last year, when he was working for a company, his entire job that weekend was to get busy people out of any social commitment they were trying to dodge. The company set the challenge for people to head into a particular store and Mitch will deliver an excuse for them. “He’ll make the hard call – you get the clean break and a guilt-free afternoon back.” From watching Mitch in Umm…What Else?, I am sure that he would have risen to this challenge.

Keep a lookout for this comedian Mitch Dale. Although this was a one-night show in the lead up to Sydney’s Comedy Festival, it won’t be the last you’ll hear about him. It was a sold out event at The Comedy Store Too tonight, so next time be sure to buy your tickets quickly so you don’t miss out.

To book tickets to Umm…What Else?, please visit https://www.neuralle.com/talent/mitch-dale.

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Till the Stars Come Down

Till the Stars Come Down

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1

If you’ve ever been lucky enough to have had a ‘perfect moment’ where you wanted to freeze time, to bathe in pure happiness, you will be able to relate to Sylvia in Till the Stars Come Down. In contrast, the feeling of wanting to stay, for fear of what may happen next, may also be relatable. These poles of emotion are strong, and it is in the myriad of this and everything in between, that becomes a tightrope linking a family together.

Directed by Anthony Skuse, and currently performing at KTX on Broadway, Till the Stars Come Down is a play about the complexities of family, grief, loyalties and love. Set in the deindustrialised working-class town Mansfield in the UK, the play takes place over the course of one day.

After a whirlwind romance, Sylvia (Imogen Sage) is marrying Polish immigrant Marek (Zoran Jevtik). Sylvia is one of a trio of sisters, and although each have very different personalities, they appear to be close. There’s a beautifully intimate scene where the sisters are lying on the floor, heads together and chatting, reminding me of either the innocence of making snow angels, or representative of the three of them combining to make a single star. I thought that maybe this was a subtle nod to the play’s title.

Hazel, (played with highly strung perfection by Ainsley McGlynn) is stuck in a job she finds boring, in a marriage where she feels unseen and consequently has a rather sharp tongue which seemed to be frequently aimed at her sister Maggie (Jane Angharad). Hedonistic and quadrupled married (twice to the same man, does that count as four times? “I only married him because he looked at me like I was a potato in a famine.”) lives elsewhere and had left Mansfield abruptly leading to the other sisters feeling somewhat abandoned. Angharad’s portrayal of Maggie was layered, and her lack of self-esteem as well as her desperate confusion in some parts of the play was admirable. Sage’s portrayal of bride Sylvia was sweet. She feels some guilt about moving out of home, having been a companion and career for her widowed father Tony (Peter Eyres).

 

 

The first half of the play is female led, and in the opening scene we are introduced to Sylvia’s living room by Hazel’s youngest daughter Sarah (Kira McLennon) zooming onto the stage, laughing with girlish innocence, and playing with a spacecraft. (I noted this may have been another cosmic nod to the play’s title) Hazel’s older daughter Leanne was also there, portrayed with just the right amount of teenage attitude by Amy Goedecke. Aunt Carol, (Jo Briant) arrives, a no-nonsense loveable character full of advice in the form of quick wit. On getting old, she says, “I’d like a bit more of the middle part” and speaks with the wisdom of a woman who has lived a colourful life. Briant was a standout scene stealer, particularly as she got more inebriated at the wedding and danced – the audience loved her!

During the wedding day, things start to become messy as Sylvia’s family reveal their racism and suspicion towards Marek. Hazel’s husband John (James Smithers) is unemployed and a kind offer by self-employed Marek is not received gracefully. An added layer at the table was Sylvia’s father and his estranged brother Peter (Brendan Miles). Tension built due to old resentments from past actions (disagreements during the time of the mining strikes) which billow around them.

Then, the beautiful wedding day descends into total family chaos.

Playwright Beth Steel has successfully written a script which gives a strong voice to all characters in fairly even measures; each have their own depth and inner struggles. The ensemble was cohesive, bringing their own character’s hidden raw emotions to the surface. This drew me into their lives and moved me. Although not an expert on accents, I believe all of the actors’ English East Midlands accents were flawless throughout this performance, kudos for this.

Composer and sound designer Layla Phillips brought the relevant era to the stage with the choice of pop songs and some original moving music throughout the play. Set designer James Smithers created a stage with minimalistic props. The wedding table and setting which appeared to have real food on the actors’ plates, along with the top bars that ran above the table was a highly effective use on the small stage. The intimate KXT Broadway was a good choice to house this play, and the casts’ clever involvement of the audience during one part added that extra bit of immersive sparkle to this production.

I loved Till the Stars Come Down! It is a hard-hitting play which explored many themes and circles back to love, life and ultimately surviving the day. It is a play which will stay with you for a long time – go see it!

Season: March 27 – April 11 2026 at the KXT Theatre Broadway
Run Time: 120 minutes with an interval
www.events.humanitix.com/til-the-stars-come-down

To book tickets to Till the Stars Come Down, please visit https://www.kingsxtheatre.com/till-the-stars-come-down.

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