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A Masterpiece of Music and Theatre: The Hunchback of Notre Dame

10/11/202509/11/2025 Cherelle Flemming🥈🦉🎭🎶

The Hunchback Of Notre Dame Rating

★★★★★

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The Hunchback Of Notre Dame Musical is now one of my all-time favourite musicals thanks to The Hills Musical Theatre Company. I absolutely loved this powerful production, held at Model Farms High School Auditorium in Baulkham Hills, and thoroughly enjoyed the laid-back cabaret seating with BYO drinks and snacks. Luke Derrick has executed outstanding direction in this fabulous musical, ably assisted by Hannah Aouchan, Assistant Director, along with superb musical direction by Peter Thornton and Gabrielle Lanham. The entire orchestra needs a special mention for animating this magnificent musical score with impeccable professionalism. The music is all-encompassing and written to tingle every nerve and fibre in your body. Notably, a very challenging score, but The Hills Musical Theatre Company triumphed in every aspect.

The absolute shining star, Quasimodo, was played by the brilliant Andrew Schwimmer. Schwimmer blew me away with his one-of-a-kind vocals and held me captive throughout his incredible performance. Schwimmer's performance was a delight to behold and I don't believe a better Quasimodo could be found worldwide. The star leading lady, Aya Adel, was resplendent in her role as Esmerelda. She was reminiscent of a Disney Princess. I found her performance thoroughly engaging and sincere. Wonderful singing, fabulous dance movement, and Adel showed strong conviction to her boldly defiant character.

Dom Claude Frollo was presented by Simon Buchner, who oozed this villainous character with the greatest of sincerity. Buchner's dedication to his challenging character was steadfast and believable. In contrast, there was the heroic, earnest, and charismatic Captain Phoebus De Martin, who was played by Lenard Chang. Chang conveyed a splendid rendition of his role, charming the audience throughout the show.

The leader of the Gypsies, Clopin Trouillefou, is brought to life by James Waters. Waters injected fathomless spirit and energy into this complex, multifaceted role and delivered a polished and engaging performance.

The enormous ensemble and choir were absolutely brilliant. From start to finish, they exuberated enthusiasm and steadfast dedication. Their harmonies sounded fittingly ethereal and lines were delivered with clear enunciation. The choreography for the ensemble was executed with neat precision and their commitment was unwavering. The choreography by Emily Taylor was perfectly appropriate—simple and impactful, utilising resonating repetition that beautifully enhanced poignant moments.

The Hunchback Of Notre Dame Musical encompasses a stellar professional cast and is definitely one you don't want to miss. The musical score is phenomenal and the story is as powerful today as ever. Seriously, this production leaves the Disney rendition for dead. Do not miss your chance to see this fabulous performance by The Hills Musical Theatre Company.

To book tickets to The Hunchback Of Notre Dame , please visit https://hmtc.sales.ticketsearch.com/sales/salesevent/153157.

Photographer: Grant Leslie Photography

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Beneath Its Bloody Surface Beats A Strangely Tender Heart

07/11/2025 Chantal Harrison Writer🥈🎭😂

Monstrous Rating

★★★★★

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On Wednesday night I attended the world premiere of Monstrous at KXT on Broadway, and I can honestly say I’ve never seen anything quite like it.

This is only my second visit to KXT, but it’s quickly becoming one of my favourite Sydney venues. The traverse stage is such a gift for directors and designers, it transforms every seat into a front-row experience and immediately pulls you into the action. In a show like this, where horror, humour, and intimacy collide, that closeness is electrifying.

Monstrous is written and directed by Lu Bradshaw in collaboration with Zev Aviv and Byron Davis, with dramaturgical support from Kerith Manderson-Galvin and Alex Tutton. What they’ve created together is bold, clever, and utterly fearless, a hybrid of sitcom-style awkwardness and spooky horror spoof vibes. It’s the kind of show that makes you laugh nervously one moment and gasp the next.

John, the Director of Wellbeing and Inclusion at RISE Community Services, takes his job (and himself) very seriously. When Chris, a visiting IT technician flown in from Perth, lands in his office to fix the servers, John’s carefully curated sense of professional purpose begins to unravel. Their connection starts as a silly flirtation but quickly morphs into something strange and transformative. What begins as a workplace fling becomes an exploration of desire, control, and the monstrous side of self-discovery.

The show opens with an homage to the classic horror-film, with black-and-white credits and an eerie score that instantly sets the tone. From there, we’re pulled into John’s meticulously inclusive office space, and into his brittle need to prove he’s one of the “good guys.” The humour lands sharply; it’s the kind that makes you wince at the same time you’re laughing. When things tip over into the supernatural, the direction and design work in perfect sync to heighten the tension. Theodore Carroll and Anwyn Brook-Evans’ lighting takes on a creature-like life of its own, cleverly signalling the shift from awkward workplace comedy to full-blown horror.

Both Zev Aviv and Byron Davis are magnetic. Their performances balance the absurd and the intimate with total commitment, and the chemistry between them keeps the audience guessing right to the end.

It’s a quirky unpacking of power, control and parental responsibility, with a flipped lens and symbolism to soften some of the blows.

Monstrous is funny, daring, and just a little disgusting, in the best possible way. Beneath its bloody surface beats a strangely tender heart.

To book tickets to Monstrous, please visit https://www.kingsxtheatre.com/monstrous.

Photographer: Valerie Joy

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Bunyip Barons

02/11/2025 From The Front Row🚀🦉🎭🎬

Bunyip Barons Rating

★★★★★

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Bunyip Barons, the first-ever original play from Upstage Productions, is a striking and evocative addition to Australia’s theatrical landscape. Set in Sydney in 1839, the play takes inspiration from the writings and illustrations of Louisa Anne Meredith, reimagining her early days in the colony as both observer and unwitting participant in a web of deceit, privilege, and moral decay. What begins as an artist’s gentle curiosity about life in the colony, quickly unravels into a haunting revelation of the darker truths underpinning colonial society.

The production transports audiences to the fictional Coy family’s grand estate, Evergreen House, in Elizabeth Bay — a glittering symbol of refinement and prosperity. The set design is nothing short of exquisite, conjuring the elegance of a colonial drawing rooms while allowing the ever-present bush to loom at its edges, a constant reminder of the untamed and the unknown. The juxtaposition of civilisation and wilderness is beautifully rendered, culminating in the unsettling presence of the Bunyip — a creature of fable that here becomes a potent metaphor for guilt, fear, and the shadows of the empire.

Just as the Bunyip of legend lures the unsuspecting into murky waters, the Coy family — the so-called “Bunyip Barons” — draw Louisa into their world of opulence and apparent generosity. Yet beneath their polished manners and glittering soirées lies a secret as chilling as it is cruel. Through an encounter with an escaped convict, Louisa uncovers the truth: the Coy family’s prosperity rests upon the brutal exploitation of their convict servants. These men and women, forced into endless servitude within the mansion’s walls, are kept from freedom through falsified records, extended sentences, and coercion. The revelation transforms the story from polite social observation into a powerful indictment of hypocrisy and greed, with Louisa forced to confront her own complicity in a society built on injustice.

Writer-director Timothy Smith’s script is rich with historical resonance yet never weighed down by it. His deft blend of realism and myth creates a compelling moral fable that probes at the fine line between power and corruption, civility and cruelty.

The performances are uniformly strong. John Brown imbues the Coy family’s butler with quiet dignity and a deep, unspoken sorrow, while Bernadette Hunter’s portrayal of the maid is spirited and heartfelt, her warmth cutting through the play’s darker tones. Their shared scenes offer the play’s emotional core, and the final revelations of their own “crimes” lend the production a moving sense of injustice and endurance.

By its conclusion, Bunyip Barons leaves the audience confronting an uncomfortable truth — that the myths we tell, like the Bunyip’s shadow in the reeds, often conceal the real monsters among us. This is a mature, meticulously realised piece of theatre: visually arresting, intellectually engaging, and emotionally resonant.

To book tickets to Bunyip Barons, please visit https://upstageproductionssydney.my.canva.site/.

Photographer: Clare T Photography

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Naturism - A Hilarious Exposé

31/10/2025 Cherelle Flemming🥈🦉🎭🎶

Naturism Rating

★★★★★

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Griffin Theatre, in association with Sydney Theatre Company, bares all in the debut production of Naturism. Naturism presents a fabulously entertaining script written by Ang Collins, and expertly directed by Declan Greene and Lily Hayman. Naturism is packed with witty dialogue and hilarious one-liners and the show is guaranteed to leave you in stitches. Although the play has serious undertones regarding climate emissions, phone addiction and Australia's brutal relationship with devastating bushfires, Ang Collins has successfully raised awareness and discussions in a comedic lighthearted manner. It seems nudity can surprisingly be an engaging way of raising important issues- who would have guessed!

The set creatively represented the Australian rainforest with leaves strewn about in a semicircle fashion, mirroring the arched backdrop of three dimensional trees. A rainforest boardwalk doubled effectively as a small stage and its demise in the fire scene was spectacularly executed. The props were effectively utilised, in particular, the outrageous fugly hats, which when placed on top of a naked body, amplified their absurdity and hilarity. As previously indicated, the costumes were mostly very…minimal. However the whip bird and the honey bee costumes were absolutely dazzling.

A cosy cast of five delivered a highly polished performance, showcasing their professional standards throughout. The story begins with three GenX naturists, Sid, (Nicholas Brown), Ray (Glen Hazeldine) and Helen (Hannah Waterman) who are living communally in the Australian rainforest abiding by their golden rule book comedically known as ‘The Thingy.’ Life for these three society castaways had been smooth sailing for decades until phone-obsessed, Tiktok influencer, Evangeline, played by Camila Ponte Alvarez, intrudes upon their serenity and upheaves their simple lives. Just as the naturist group begins to accept Evangeline, in strolls highly indulged Adam (Fraser Morrison) who brings further chaos to the peaceful group.

The vulnerability the actors display is commendable and pays off exceptionally as it not only solidifies the content but it is cohesive to the script's elements at large. This dynamic cast all showcased exceptional comedic skill and rightfully deserved the standing ovation and accolades of applause and cheers. I have not witnessed such abundance of laughter during any other performance I have seen. This is credited to the actor's creative delivery and expertise in conjunction with fabulously humorous dialogue. Hannah Waterman's portrayal of intoxicated Helen and her journey of enlightenment is side-splitting comedy at its finest.

The lighting was meticulously timed to emphasise hilarious sudden spotlights on the characters. The dramatic opening spotlight poses meticulously timed with blackouts, had the audience hooked from the beginning. The articulation of the lighting during the fire scene was also spectacularly effective, burning bright red accompanied by thick smouldering dry ice. The sound effects of burning and cracking trees which accompanied this impactful scene were compelling and impactful.

Naturism is a solid five-star performance in every aspect. It is a one of a kind production that will indeed reveal more to the audience than any other performance they have likely encountered. There is nothing flaccid about this impactful, poignant, script which the sensationally talented cast gets to the naked truth of.

To book tickets to Naturism , please visit https://griffintheatre.com.au/whats-on/naturism/.

Photographer: Brett Boardman

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