Colour and Light: The Art of Sondheim

Colour and Light: The Art of Sondheim

Colour and Light: The Art of Sondheim Rating

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6

Buckle in. There is going to be a lot of hyperbole in this review. When something is this good, how else can you describe it?

Colour and Light: The Art of Sondheim, presented by Watch This at Theatre Works, is less a musical revue and more a velvet-draped love letter to the genius of Sondheim. It’s the kind of show that slips under your skin, reshapes your idea of what cabaret can be and sets a new standard for how theatre should be made.

Theatre Works is perfect venue for this show. It balances epic with intimate, using the high ceiling to hang long luscious drapes but keeping the audience close enough that we felt every word on the stage. Designer Rob Sowinski has conjured a stage that feels like a plush, lived-in lounge room (art deco drinks trolley and all) with a circle of tiered staging, bathed in the soft glow of vintage table lamps. It’s intimate and luxurious.

What follows is a breathtaking journey through Sondheim’s songbook. Yes, the big numbers are here, but so are the deep cuts and the “why-don’t-more-people-sing-this?” gems. I’m sure Sondheim diehards will know that he wrote songs for the 1990 film, Dick Tracy, but I had no idea and it was a revelation to hear music from the soundtrack on the stage. The show flows with purpose and precision, thanks to the clean, intelligent direction of Melanie Hillman and Dean Drieberg, whose love of the material radiates through every moment. The loose thematic arc is shaped around Seurat’s artistic principles of Order, Design, Tension, Balance, Harmony. The structure gives the evening clarity without ever feeling constrained or contrived. This is cabaret at its best.

And then there’s the music.

 

 

Dr Trevor Jones, who arranges, musically directs and performs from the piano, is the beating heart at the centre of the piece. His arrangements are stunning. They are lush, showy when needed, simple when called for and always with a focus on the emotional truth of the songs. This is some of the finest musical storytelling I’ve heard on a Melbourne stage and reminds me why, when done well, musical theatre is one of the greatest art forms ever.

Johanna Allen is a master of her craft. Her ability to navigate the razor-thin line between vocal fireworks and emotional restraint is unmatched. She brings a knowingness to the stage that draws the audience in and lets us share the humour and pathos in all of her delivery. There are countless moments she channels such precision and ache that you could feel the entire theatre holding its breath. This is vocal acting of the highest order.

Vidya Makan broke my heart multiple times across the night. There’s an emotional directness to her performance that’s magnetic. Her choices are always fresh, never predictable and she elevates everything she touches with nuance and grace. Her I’m Still Here was a stand out moment in a evening of stand out moments. She gave us an exquisitely rendered journey from introspective calm to triumphant exuberance with countless little gut-punches along the way.

Nick Simpson-Deeks, as ever, delivers with polish and pinpoint clarity. He finds the architecture in each song, builds it, then knocks it down with a smirk or a sigh. It looks effortless, but this has to have been crafted and perfected over years. His Send in the Clowns has ruined every other version for me. Honestly. It needs to be bottled and prescribed to every aspiring performer and every audience member.   It is good for the soul.

Jacob Rozario brings vibrant charisma and thrilling musicality. They shift gears effortlessly from the ridiculous to the sublime and their voice is an instrument of total control and warmth. There wasn’t a moment when their performance wasn’t a captivating blend of playful, detailed and vocally dazzling. His delivery of Can That Boy Foxtrot will stay with me for a long time. 

Colour and Light: The Art of Sondheim elicited a palpable love in the room, not just for Sondheim, but for collaboration, for precision, for joy. The audience left buzzing, visibly moved and audibly delighted. As for me? I’ve already booked to see it again.

This is one of the finest tributes to Sondheim I’ve seen anywhere in the world. Don’t miss it.

To book tickets to Colour and Light: The Art of Sondheim , please visit https://www.theatreworks.org.au/2025/colour-and-light.

Photographer: Ben Fon

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Draw Two

Draw Two

Draw Two Rating

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4

What would happen if you were mistaken (by a hot guy, no less) for your recently deceased twin sister in the local Woollies, but fail to correct the mistake?

How do you navigate having to take guardianship of your young, orphaned nephew when you had other life plans?

Can we ever, even as adults, fully break free from the (often stifling) parent-child relationships we grew up with as children?

And perhaps most importantly: Should you EVER let a young child win at Uno if you have the power to beat them?

These are just some of the questions raised in Draw Two; a compellingly powerful and comedic one-woman show centred around Riley, a young 20-something year old woman dealing with some very big life challenges.

Riley has returned to her hometown in the aftermath of the death of her twin sister, Mia, to pack up her sister’s house, and take her now orphaned son, Lucas, back to Melbourne to live with her and her partner.

In this process, Riley has to deal with her stifling and often disapproving mother.

 

 

And there is the fateful encounter with a childhood friend of Mia’s (Kieren), who mistakes Riley for Mia…

Georgia McGinness takes the helm in this one-woman show, performing a poignant, often hilarious, and equally gut-wrenching narrative through the eyes of Riley.

Georgia masterfully depicts all of the characters coming in and out of Riley’s life, giving enchanting and moving performances.

This show really pulls at the heartstrings, exploring some big themes of navigating grief, family dynamics, personal relationships, and finding the small joys in times of darkness.

Georgia’s performances were honest and mesmerising; seamlessly transitioning between characters, and giving a real sense of relatable, Australian life, family dynamics, and the reality of the difficulties that life can unexpectedly throw at you.

While the set itself is quite simple, throughout the show, beautifully crafted animations were projected at various stages to give more life and depth to the narrative.

A full house and a standing ovation are two hallmarks of a crowd-pleasing show; and Draw Two was extremely well-deserved to receive both of these on the opening night of its run at Theatreworks in Melbourne this September.

Written by Meg McDonald and directed by Lauren Bennett, Draw Two is a perfect example of the sheer talent Australia is currently producing in the theatre space, and the entire team should be congratulated on a spectacular show.

This is not one to miss, with performances until the 27th of September at The Explosives Factory, Theatreworks, Melbourne.

Playwright & Co-Producer: Meg McDonald
Director: Lauren Bennett
Composer, Sound, & Voice Coach: Clare Hennessy
Set & Costume Designer: Ishan Vivekanantham
Visual Art Designer: Lauren Goodfellow
Lighting Designer & Production/Stage Manager: Sam Gray
Co-Producer: Ruby Busuttil
Cast: Georgia McGinness

To book tickets to Draw Two, please visit https://www.theatreworks.org.au/2025/draw-two.

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Are You There?

Are You There?

Are You There? Rating

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Are You There is a humorous, authentic, and unexpectedly tender play set within the bustling, sometimes chaotic office space of an aged care facility. The story follows three women whose lives intersect in ways that are both ordinary and profound. At its centre is Pia, played with grit and vulnerability by Melanie Madrigali. Pia is an overworked, under-supported single mother, stretched thin between the needs of her family and the fragile older adults she protects with fierce devotion. Madrigali balances sharp humour with emotional honesty, showing Pia’s resilience as well as the cracks that form when compassion is stretched too far.

She is joined onstage by two strong performers who bring texture and contrast to the dynamic: Jane Clifton as Colleen, the loud, cheeky, and larger-than-life colleague whose bravado covers her own insecurities, and Rosemary Johns as Lauren, the dementia-affected yet luminous figure whose presence is ethereal and quietly heartbreaking. Johns’ portrayal avoids caricature, offering a delicate, humane look at how memory loss reshapes identity while still leaving room for flashes of wisdom and spirit. 

Playwright Irene Korsten has crafted a script that balances humour and poignancy. Rather than falling back on stereotypes, she gives each character dimension and complexity, inviting audiences to see them as fully realised people rather than mere archetypes. The dialogue flows with a natural rhythm, peppered with wry observations and moments of raw honesty that feel instantly recognisable. Rachel Baring’s direction amplifies this authenticity. The staging feels as though the audience has been invited directly into the staffroom of an aged care home, watching real people negotiate frustrations, laughter, and moments of grace. The pacing is nimble, allowing both comedy and contemplation to breathe.

The interplay between the three characters provides a dynamic ebb and flow of energy. Conversations spiral from workroom banter into unexpected meditations on spirituality, mortality, and family. Particularly striking is Madrigali’s ability to hold the stage even when “acting against no one”. Whether speaking into a phone to patients’ families or to her own child. These moments showcase her precision as a performer and highlight the isolation of carers who are often pulled in many directions at once.

What gives Are You There its staying power is not just its humour or characterisation, but its resonance. The show nudges the audience to consider their own connections to family, community, and the people who quietly sustain both. In its gentle way, it encourages gratitude for those who care, often without thanks, and for the fragile bonds of connection that give life meaning. Walking away, I found myself reflecting on my own relationships and the small yet profound ways we hold each other up.

This is a sweet, sensitive, and deeply human play. One that laughs at the absurdities of life in an aged care office while reminding us that connection is what ultimately keeps us grounded. Are You There is proof that sometimes the most ordinary settings yield the most extraordinary truths.

To book tickets to Are You There?, please visit https://www.theatreworks.org.au/2025/are-you-there.

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Ms Julie Gabler: Trapped

Ms Julie Gabler: Trapped

Ms Julie Gabler: Trapped Rating

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2

Ms Julie Gabler: Trapped is a reimagining of Shakespeare’s Othello, set in a modern Australian household with a diverse cast of intense characters.

Handled with an unapologetic honesty, the two act play explores the power dynamic between an interracial, heterosexual couple, delving into unflinching portrayals of domestic abuse and generational racial trauma.

All the characters in the play are professional actors who structure their lives around their love of theatre. The tone of the play is instantly set in the first scene when, while rehearsing for an audition for Othello, Robert actually attempts to choke out his partner Julie, causing her to knee him in the groin to break free. Tensions rise rapidly when Julie receives that role of Desdemona but their friend Mal receives the role of Othello instead of Robert, causing Rob to spiral into a violent rage fuelled by jealousy and paranoia.

 

 

Julie, portrayed by Ruth Gilmour, brilliantly expresses the trials of a woman trapped in a bad situation, through sobbing, bribing and desperate pleas towards her partner. Her moments of silence and stillness where Julie has completely emotionally detached herself truly evokes the pain experienced by an unfortunately rising number of women in this country. Gilmour’s role is beautifully balanced by Lenny Cullen Gorman who brings a touch of lightheartedness to his scenes while still maintaining the importance of the messages he is portraying.

However the atmosphere of the entire production is dictated by Sermsah Bin Saad who plays Robert. His erratic, almost constant presence leaves audience members feeling edgy and unsafe, an experience that is amplified by the live soundscape being created in front of them by Cansu Ceren Gonen, Terry Novel and Zac Rose.

Set on a single minimalistic set, the brutal nature of this play and its unflinching portrayal of domestic abuse is sure to linger in the minds of audience members, long after the final curtain.

To book tickets to Ms Julie Gabler: Trapped, please visit https://www.theatreworks.org.au/2025/ms-julie-gabler.

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