The Wolves

The Wolves

The Wolves Rating

★★★★★

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The Wolves began with one of the girls warming up for soccer. As the soccer player #13 (Kristie Kriaris-Tsotras) warmed up, so too did the audience. The Wolves is about a group of girls on an indoor soccer team together, and explores what it’s like to be part of a team, and to be a teenage girl surviving amongst her peers. Written by Sarah Delappe, The Wolves delicately balances the exploration of how young women interact, and what it means to part of something bigger than oneself.

The set was clean and minimalist, with artificial turf across the whole stage, designed by Tom Vulcan. The bright lighting (also designed by Tom Vulcan) neatly established the stage as an indoor soccer field. The stage was well established, unmistakably, as a place for the soccer team to mingle, play, and be The Wolves.

The choreographed introduction on the show was well synced and impressive. The entire ensemble warmed up together, and powerfully set the expectation of how the soccer team worked together and moved as one across the stage. Throughout the show there were moments where the entire ensemble warmed up, and the physicality of the movements adds richly to the identity of the girls in the show. They are there as a group, moving together.

 

 

The complex group dynamics were established early into the play. There was consistently overlapping dialogue, that was conducted with an impressive amount of skill. The overlapping dialogue felt authentic to the experience of teenage girls. It meant that the audience always missed a little bit of context or conversation, adding to the feeling of being a teenage girl, never quite knowing what was going on, always slightly disoriented. This also effective built the tension between the characters, as they gossiped and bullied each other.

The different members of the soccer team discuss their lives, politics and hint at the complexity of socioeconomic differences between the team members. These topics of discussion lead naturally to awkwardness, both genuine and manufactured. The tension built and developed as the interpersonal conflict and affection escalated amongst the teammates. The ensemble cast expertly weave the complex relationships of the different team members, exhibiting impressive and excellent chemistry.

Ultimately The Wolves asked the audience to ponder if we should care about what others say about us, or what it means to be a team. When I leave a show asking myself questions, I know I’ve been thoughtfully and meaningfully engaged.

To book tickets to The Wolves, please visit https://www.theatreworks.org.au/2026/the-wolves.

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SAINTING JOAN: A New Rock Musical

Sainting Joan

Sainting Joan Rating

★★★★★

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‘Sainting Joan’ playing now!

Saint Peter’s Basilica is filled to the brim with spirits as preparation for the sainting begins. Nearly five hundred years after the English burned her at the stake, the French hero is getting officially recognised. Jealous kings and corrupt judges play devils advocate to Joan’s legacy, while the spirits of her friends and allies remember her courage, impact, and general bad-assery.

This impressive piece of new work written by VCA graduate, ABIGAIL BANISTER-JONES (also playing the lead role of Joan), is a jovial and somewhat educational look at the life and times of Joan of Arc. A significant person in history, I knew little of Joan before seeing this rock musical in St Kilda opening with a full audience!

A fire rock-musical production of original songs and dialogue engages the audience to feel transported to the canonisation of Joan after her actual death date. Will they or won’t they make Joan a saint? Should they or shoudn’t they? Ghosts of Joan’s time, including Joan herself, take us on the journey of poor peasant girl to a mighty leader saving France.

A cast of 8 talented Melbournians rock out to music with an impressive band of drums, guitar, bass and keyboard playing at the back of the stage in full view the entire show. At first, I thought that might be distracting but as there are no ‘scene’ changes you will quickly become involved in what is going on in front of you and just enjoy the music coming from the rear complementing the overall story perfectly.

 

 

Costuming is fantastic. A predominantly red, black and white colour scheme is used extremely well. The red sheer over Joan in her time of passing I thought was exceptionally done and how the actor underneath didn’t lose the fine fabric amongst a lot of movement was well rehearsed.

I absolutely loved the folding arms circling trio looking spooky with a complete change in their facial expressions to relate to the doom of Joan and how she does what she does explained by the threesome in words and song and facials was thoroughly entertainingly entrancing to watch. My favourite scene for sure.

The choreography is to be commended lots of very clever combinations and performed with precise spacing from everyone, big cheer!

The King is expertly played on all counts as is Archbishop (my favourite character overall), typical of the era are their accents and hierarchy displayed, and with some fast and extensive lines I really thought these two together were great fun particularly in the more comic moments. My friend I took along loved the General and as a singer herself noted some beautiful harmonies here too.

‘God is not French!’ had us all laughing along with a ton of other witty quotes and unexpected outbursts.

Bravo to the entire cast and creative team behind what I can see could become a sold out season.

Please do go and support this small theatre and its productions:

https://www.theatreworks.org.au/2026/sainting-joan

Playing 20-30 May at the Explosives Factory. Entry is via a laneway, upstairs and they offered bar drinks and snacks before the 80min show with no interval. The 80 minutes flew by!

WRITER/DIRECTOR – Abigail Banister-Jones

MUSIC DIRECTOR/ARRANGER – Lachlan Obst

CHOREOGRAPHER – Francesco Mandarino

COSTUME DESIGNER – Hannah McGlinchly

LIGHTING DESIGNER – Stuti Ghosh

STAGE MANAGER – Lowana van Dorssen

CO-PRODUCER – Janvi Sikand

CAST

JOAN OF ARC – Abigail Banister-Jones

KING CHARLES – Emerson Hansford

ISABELLE – Bek Schilling

ARCHBISHOP – Cassie Ogle

DEVIL’S ADVOCATE – James Colbourn-Keogh

GENERAL DUNOIS – Gemma Caruana

PRINCE LOUIS – Riley Street

ROBERT DE BAUDRICORT – Brittany Ng

BAND

KEYS – Lachlan Obst

GUITAR – Timothy Chivers

BASS – Lou Hogue

DRUMS – Victoria Mertonidis

To book tickets to Sainting Joan, please visit https://www.theatreworks.org.au/2026/sainting-joan.

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Red Sky Morning

Red Sky Morning

Red Sky Morning Rating

★★★★★

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Tom Holloway’s award-winning play, Red Sky Morning, has returned to Melbourne at TheatreWorks, St Kilda, having been developed originally through Red Stitch’s INK program. (The play premiered at Red Stitch Actors’ Theatre in 2008.) Holloway is internationally acclaimed and this iteration certainly shows us why.

We are introduced to a family of three, who, even living together, exist without connection and within the loneliness of the outback. It’s no accident our characters are nameless because to me, they could be, or could have been, any one of us at any time, floating in limbo in those awful moments where so much is felt and nothing is said.

Over the course of one day, M, W and G’s stories unfold in a series of poetic, interwoven monologues that reveal love, regret, insecurity, addiction, shame, dependence, doubt, destitution, devotion, hopelessness and then, sometimes humour in the embarrassing little moments.

Performed superbly by Alpha Kargbo as “M, mid 40’s male”, Emma Choy as “W, mid 40‘s female” and Izabella Day as “G, late teens girl”, their individual scripts intertwine while rolling seamlessly, despite their characters’ lack of connection in this story. In fact, the three performed as one entity, each of them having had to learn all three scripts to achieve this and they delivered each of their roles with such precision. A technically challenging feat, brilliant and fascinating to watch. This result can only have been achieved by a trio who truly trust and believe in each other at all times.

 

 

Directed by Lyall Brooks, four-time Green Room Award Winner across mainstage, independent and musical theatre and assisted by Seon Williams, this 60-minute play seemed to me to be more like 30-minutes. Izabella Day said Lyall was a wonderful leader in this process, trusting his actors and giving thoughtful, insightful direction that continually strengthened their work. The flyer told us, “Directed by Lyall Brooks, RED SKY MORNING is a hauntingly beautiful Australian story that will stay with you; because it feels like home.” I certainly related to a couple of moments that felt like ‘home’ to me years ago.

Lighting Designer, Sidney Younger; Sound Designer, Jack Burmeister; Set Designer, Harry Gill; and Stage Manager, Jade Hibbert, have also excelled in their field, supporting the actors beautifully in this process.

In 2026, most of us are wiser to issues of mental health or an understanding of self-doubt, so I believe this piece is now easier to digest and even more important than it would have been in 2008.

I liked the ending, albeit a subtle hint well-placed within a couple of words, that left hope for the future of M, W and G.
Like the joy of seeing a pink, orange or red sky we know we are lucky to glimpse any rare morning, this play reminds us we must embrace the will to survive and move onwards and upwards – despite any feelings of despair or doubt.

Book tickets via Theatreworks.
Playing 6 – 16th May.
Then touring Victoria after its Theatreworks season:

Tuesday, 26 May – Portland Arts Centre – https://www.portlandartscentre.com.au/Whats-On/Red-Sky-Morning

Wednesday, 27 May – Hamilton Performing Arts Centre –
https://tickets.hamiltonpac.com.au/event/1004:780/1004:982/

Thursday, 28 May – Lighthouse Theatre Warrnambool –
https://www.lighthousetheatre.com.au/red-sky-morning

Friday, 29 May – Corangamite Theatre Royal Camperdown –
https://www.corangamite.vic.gov.au/Places-and-Events/Events-and-Festivals/Events-Calendar/RedSkyMorning

Saturday, 30 May – Bellarine Arts Centre –
https://app.geelongcity.vic.gov.au/bellarineartscentre/calendar/item/8de59cbde2db2f9.aspx

To book tickets to Red Sky Morning, please visit https://www.theatreworks.org.au/2026/red-sky-morning.

Photographer: Sarah Clarke

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Mara

Mara

Mara Rating

★★★★★

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Last night, I had the pleasure of attending the opening night of the newest production at Theatre Works. ‘Mara’ is a triumph of re-imagining, cleverly talking and twisting is audience through the story of Cinderella, from the perspective of the so called evil step-mother.

Upon entry to the theatre, audience members are greeted by low lighting and haunting live music (courtesy of Asia Reynolds) that instantly sets the tone for the show to follow: a tactile exploration of words and visuals that transports you into the inner mind of a woman very much on the edge.

It would be remiss to review this show without applauding the massive efforts of actress Aurora Kurth. Aurora steps on the stage and does not simply act, she becomes. Babe, daughter, mother, lover, maid, footman, friend, martyr, baddie and even daddy. She becomes all of them right in front of your eyes, through accent, tone and physicality, talking and singing her way through rhythmic lines filled with repetition, onomatopoeias, metaphors and double entendres (“You have put a step between us” made me literally gasp out loud, I apologise to the gentleman sitting next to me).

 

 

The other standout moments of the show were the visuals and soundscape. On a beautiful designed set with carousel horses and doll houses (thank you Jacques Cooney Adlard), every choice felt incredibly deliberate from the colours of Mara’s dresses to the clinking of her teacups. All choices designed to surround the audience and draw them into the mindset of Mara, a woman desperately trying to bring security into her world, against all odds.

And yet, this show does not shy away from the more brutal elements of Cinderella. After delicately toeing the line between whimsical and gruesome, the show takes a direct turn into the macabre with one of the best representations of foot mutilation I have ever seen onstage (and I’ve seen surprisingly many).

Did I come away from the show on the step mother’s side? Not quite but I don’t think I was supposed to. Instead I came away from Mara with a deep appreciation for the journey she has gone through and an understanding of her character. She is desperate, she is a mother, she is alone, she is unloved, she is lost. She has struggled and climbed, she has made mistakes and paid for some of them. She has loved and lost, she has envied, she has feared. She is so much more than a caricature of ‘The Evil Stepmother.’

To book tickets to Mara, please visit https://www.theatreworks.org.au/2026/mara.

Photographer: Sarah Clarke

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