My favourite part of Fringe each year, is walking into a show blind. Purely based off reviews from friends, a cool poster, the fringe feed, anything – I love not at all knowing what to expect, and being totally surprised. Casey Filips: Virtuoso is the perfect example of this.
A one man play of sorts, we follow the eccentric Tobias Frazier-Finlay through the audition of a life-time. Now, I want you to picture every exuberant, quirky, dramatic character you know combined into one, and that’s the kind of guy we’ve got. Mr. G, Sharpay Evans, even a little Miranda Sings it’s all in there.
The black-box rehearsal room at the State Theatre centre sets the scene perfectly, with Tobias strutting in from the back of the room as if really entering an audition. As with any standard casting call, he opens with a bit about himself, and of course his headshots, giving us a quick taste of his skillset (of which there are many!).
We then jump into a scene read, where he of course displays his natural ability to take notes from the panel (or in this case audience!). Naturally, hysteria ensues. I was amazed by Filips’ ability to not only perfectly mimic audience members but seamlessly taking on their daring requests.
For his final display of talent, we are treated to a – rather interesting – self-devised piece inspired by the majestic life of a manatee that left audiences doubled over with laughter. A big shout out must of course go to the gentlemen called upon to form part of the demonstration, the true star of the show (much to Tobias’ dismay).
Audiences also enjoy brief glimpse into Tobias’ future and where his career lands, a perfect crescendo for a man whose clearly given his life to the arts, but I’ll keep the exact details a secret for audiences to enjoy.
If you ever remember being told by your drama teacher “you have to fully commit to the bit, doing it 50% makes you look more ridiculous” this performance is a fine example. Offering a barrel of laughs and complete and utter tom-foolery in the best way possible from begin to end, this is a fringe favourite certainly not to be missed. Perfectly titled, Filips’ in fact, a Virtuoso.
To book tickets to Casey Filips: Virtuoso, please visit https://fringeworld.com.au/whats-on/casey-filips-virtuoso-fw2026.
It took until 2013 for gay marriage laws to pass in England. Although it may feel like we’ve made strides towards change, in a lot of ways, queerness had a bright, shining five to seven years in the sun before it began to slide backwards again in modern politics. Es & Flo is a little bit about this – and why marriage is such an essential part of the fight – but it’s also mostly about the complexity of lifelong relationships, and the intimate sense of loss and betrayal we feel when someone we love begins to slip through our fingers.
Emma Canalese has set this show in the warm and familiar home it deserves, one yellowed by years of adoration and care. One that the characters on stage are also deeply familiar with. Such, the threat of losing the home and those inside it becomes all the more raw and uncomfortable. As the piece progresses, the sense of belonging we feel in this quiet home becomes more and more disturbed – video and audio of protests and conversations merging in a way that creates a cacophony that we’re both threatened by, and desperately want to understand.
Annie Bryon delivers something that truly hits close to home with Esme. Maybe it’s the unending patience and devotion to the childlike wonder of Kasia, or maybe it’s the disquieting hysteria of an older person’s confusion. Either way, it’s difficult not to think of some of ours in our own lives. Bryon evolved spectacularly in the second half, particularly in the more subtly brutal moments. Fay Du Chateau in return gives us something quieter, smarter, but nevertheless slipping into a panic she can’t understand either, as the stability of her entire world begins to fall apart. Her physicality in gesture, and her willingness to play in the discomfort of the piece makes her performance really something special. Charlotte Salusinszky as Biata is a lovely empathetic,\ but realistic edge, bouncing off of Chateau in a way that humanizes and deepens both of them. Erika Ndibe brings a whimsicality that lifts the piece to its feet in a way it often needs, along with providing the quiet tragedy of not understanding why Es and Flo aren’t allowed to be open in their love for each other. Eloise Snape provides some truly impressive comedic work, and toes the line of insufferable and sympathetic with true finesse.
In a piece centered around relationships, it is only natural that this is where the production shines. All the cast have undeniable chemistry with one another, and their bonding allows the piece to focus the audience into the heartache of the micro of a dementia patient, and the macro of internalised homophobia. There are some brief blips of conviction and blocking, but in a piece as intimate as this one, where it almost feels like we’re voyeuristically spying into someone’s living room, these odd moments smooth over for the most part.
Familiar, and unforgivable, sympathetic, and pathetic; Es & Flo walks the tight-rope of a shame and desperation we as a modern queer collective feel off put attaching ourselves to, whilst demanding that we understand why. As the curtains close, I can say I was reminded all too honestly of the path forwards – especially as those who fought for our freedom begin to age out.
Robot Song is a 10/10 unicorn. It’s a lean, hilarious and genuinely heartfelt piece of theatre, where every element is perfectly placed and the magic sneaks up on you. There is no fat in this show. Nothing extraneous. It is deliberate, thoughtful and perfectly crafted, a tight hour that moves at a cracking pace and still finds room for your heart to keep up.
I first saw Robot Song years ago and it hit me just as hard this time at Theatre Works as it did when I saw it in regional Victoria. I feel like that is the mark of a work built on universal truth and authenticity.
Created by Jolyon James (writer, director and designer), Robot Song takes the lazy “robotic” stereotype often slapped onto autistic people and flips it into something far more honest and generous. In James’ own words the show challenges those misconceptions, asks how we define ourselves and centres creativity as a way through when language fails.
At the centre of the story is Adeline Hunter as Juniper May, giving a stellar performance that is funny, raw and completely believable, like you are watching a real kid think in real time. Phillip McInnes as Dad nails the paternal warmth and the messy, relatable effort of trying to get it right more often than you get it wrong. Michelle Doyle, performer-musician, is a quiet force, moving between presence as Mum and musicianship in a way that makes the whole room feel held.
The music, composed and directed by Nathan Gilkes, is simple but perfectly formed, built to keep the lyrics clear and centred while still giving the singers space to fly. And fly they did. Each performer showcased their vocal skills brilliantly but Adeline Hunter stole the show vocally with a powerhouse voice that left the audience cheering.
The theatrical language is a joy too: a show-within-a-show (and sometimes another show within that). It never feels confusing as we switch between worlds, just lovingly guided. Puppetry, projection, movement and live tech blend so seamlessly, you stop clocking the mechanics of brilliant theatre-making and find yourself genuinely immersed inside the story.
The design, once again, highlights the versatility of Theatre Works. It sits within the space as though it was custom built for the venue. The set looks casual, complete with found objects strewn everywhere, but everything is precisely chosen and positioned, especially around the oversized dumpster centrepiece which is somehow both realistic and quietly magical. Set construction is credited to Tom Eeles at JT Custom Builds, and you can feel the intelligence in every centimetre of it. The lighting (with original lighting design by Paul Lim) and the sound design deserve their own standing ovation. They are detailed, sculpted and so apparently effortless that you only realise afterwards how much work must be underneath.
I brought my 17-year-old daughter to this performance and she loved it as much as I did, as much as the younger kids in the audience did too. That “everyone gets something” kind of magic is rare. Think Bluey energy: warm, clever, deeply inclusive, with big lessons delivered gently with wit and kindness. This show made me laugh, cry and I loved every moment of it. Don’t miss it.
Producer John Frost for Crossroads Live today announced the stellar cast for the Australian Premiere of Broadway’s smash-hit musical WAITRESS, which will light up Her Majesty’s Theatre Melbourne from 1 May, and the Sydney Lyric Theatre from 1 August. Tickets are now on sale at waitressthemusical.com.au.
Leading the cast as Jenna will be Natalie Bassingthwaighte (Chicago, Shirley Valentine), while Gabriyel Thomas (Cats, Sister Act) and Mackenzie Dunn (Grease, Annie) play Becky and Dawn, Jenna’s coworkers at the diner. Charismatic star of stage and screen Rob Mills (& Juliet, Wicked) will play Dr Pomatter, and legendary actor John Waters (The Woman in Black, Play School) will be Joe, the owner of the diner.
One of Australia’s most popular leading ladies of stage and screen, Natalie Bassingthwaighte will play Jenna, an unhappily married waitress in a small US town. Natalie’s music career has seen her achieve acclaim as one of only twenty Australian solo female artists to reach Number One on the ARIA Album Charts with her solo album, 1000 STARS. She has enjoyed international success as front woman of The Rogue Traders, achieving multi-platinum sales across two albums, as well as two APRA nominations, an MTV award win and seven ARIA nominations. Most recently lauded for her performance on stage in the title role of last year’s Australian tour of Shirley Valentine, Natalie has created many memorable characters on stage including Roxie in Chicago, Mary-Jane in Alanis Morissette’s Jagged Little Pill, Sandy in Grease and Florence Vassy in Chess. Her work on television includes the original host of So You Think You Can Dance, judge on The X Factor, and competing alongside her sister Mel on The Amazing Race.
Direct from her acclaimed performance as Grizabella in the national tour of Cats, the role of Becky, the irascible waitress with a wicked sense of humour, will be played by Gabriyel Thomas. Gabriyel’s other credits included Michelle and sometimes the lead role of Deloris Van Cartier in the Australian tour of Sister Act, The Sound of Music, Ragtime and the Australian and US tours of Hairspray.
Most recently seen on stage as Lily St Regis in the Australian tour of Annie, Mackenzie Dunn will be Dawn, the eccentric youngest waitress at the diner. Mackenzie has also played Rizzo in Grease, Penny Pingleton in Hairspray, Squeaky Fromme in Assassins, Francine in Jersey Boys, Evelyn Nesbit in Ragtime, Bubba in Summer of the Seventeenth Doll and understudied and performed the role of Princess Fiona in the Australian tour of Shrek.
Charming stage and screen star Rob Mills will be playing Dr Pomatter, Jenna’s endearing but neurotic gynaecologist. Rob has had celebrated roles in musicals including & Juliet, Wicked, Hairspray, Ghost, Jesus Christ Superstar and Grease, and on screen in Neighbours, Winners and Losers, Dancing With The Stars and the 2025 season of The Amazing Race Australia: Celebrity Edition.
As Joe, the curmudgeonly diner owner who has a soft spot for Jenna, will be stage icon John Waters. With a career spanning over 50 years, John is well known for lead roles in the film Breaker Morant and the television series Rush, All the Rivers Run, Rake and his 20-year run on Play School. His prolific stage work includes Hair, Godspell and Jesus Christ Superstar in the 1970s, through to the musicals The Rocky Horror Show, They’re Playing Our Song opposite Jackie Weaver, The Sound of Music opposite Lisa McCune and most recently the thrilling play The Woman in Black.
“I’m overjoyed to announce this extraordinarily talented cast. They will beautifully bring to life the delightful characters in this original and inspiring production,” said John Frost. “WAITRESS was a massive hit on Broadway where it played for almost four years, and was a huge success in the West End and across the world. WAITRESS has become a ‘must see’ musical, with its memorable music by Sara Bareilles and universal themes of hope and resilience. Get your tickets now to enjoy this life-affirming show.”
Inspired by Adrienne Shelly’s beloved film, and brought to life by a trailblazing female-led creative team, including a book by acclaimed screenwriter Jessie Nelson, an original, uplifting score by Grammy winner Sara Bareilles (Love Song, Brave) and direction by Tony winner Diane Paulus, WAITRESS is the irresistible Broadway hit about resilience, friendship and hope that has captured hearts worldwide.
This heartwarming and empowering musical tells the story of Jenna, a small-town waitress and expert pie maker who longs to escape her rocky marriage and start again. When a baking contest, an unexpected new romance and the support of her fellow waitresses offer her a taste of change, Jenna discovers that the secret ingredient to happiness might be closer than she ever imagined.
“Treat yourself to a slice of 5 Star musical pie” – The Times “Sweet, sassy, passionate & delightful!” – New York Magazine “Simply delightful! A glorious reminder that life is messy and wondrous!” – The Washington Post
WAITRESS made history on Broadway with the four top creative spots in a show being filled by women – Sara Bareilles (music and lyrics), Jessie Nelson (book), Lorin Latarro (choreography) and Diane Paulus (direction). It opened on Broadway in April 2016 at the Brooks Atkinson Theatre, where it ran until January 2020. WAITRESS was originally produced by Barry & Fran Weissler and Norton and Elayne Herrick.
Sweet, sassy and soul-stirring, WAITRESS is “a little slice of heaven” (Entertainment Weekly) and “made from the finest ingredients” (Time Out). It’s a feel-good celebration of second chances, and the magic of a well-made pie.
If only life were as easy as pie…
WAITRESSTHEMUSICAL.COM.AU
MELBOURNE SEASON DETAILS Venue: Her Majesty’s Theatre Season: From 1 May Performance Times: Tue-Thurs at 7pm, Fri-Sat 7:30pm, Wed 1pm, Sat 2pm, Sun 1pm, 3pm or 6pm (performance times vary each week) Prices: From $69.90 (Transaction fees apply) Bookings: waitressthemusical.com.au or phone 13 28 49 Groups 8+ call (03) 9662 9571
SYDNEY SEASON DETAILS Venue: Sydney Lyric Theatre Season: From 1 August Performance Times: Tue-Thurs at 7pm, Fri-Sat 7:30pm, Wed 1pm, Sat 2pm, Sun 1pm, 3pm or 6pm (performance times vary each week) Prices: From $69.90 (Transaction fees apply) Bookings: waitressthemusical.com.au or 136 100 Groups 8+ email groups@ticketmaster.com.au
