Theatre - Whats The Show

Spreading Festive Cheer To Novocastrians

07/11/2025 Cherelle Flemming🥈

A Very Newy Christmas Rating

★★★★★

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The festive season has officially begun at Newcastle’s Civic Playhouse. The decorations are hung and the trees are glowing, creating a perfect Christmas atmosphere for A Very Newy Christmas to spread jolly Christmas spirit to local Novocastrians. A Very Newy Christmas is proudly presented by UpStage at the Playhouse and One for the Road Productions, with creative direction by Bronwyn Sartori.

A Very Newy Christmas is a fabulous original play by Newcastle’s talented Playwright, Nat Newman, who has created a highly entertaining script overflowing with humour and a decent sprinkle of Christmas cheer. The script is bursting with pride for our fantastic city of Newcastle, where we are lucky to reside in.

The plot of A Very Newy Christmas revolves around newly divorced Betty (Denni Mannile) and Trish (Connie Voisey-Barlin). They are navigating their newly single paths after decades together and rediscovering their own identities. Both Mannile and Voisey-Barlin presented a truly heartfelt, convincing performance never straying from dedicated authenticity in their well-developed characters. We see Betty struggling with newfound feelings for the easygoing, fun-loving younger man Joey, admirably delivered by Tony Gleeson. Tony’s onstage chemistry with Denni felt sincere and natural and I also thoroughly enjoyed his back and forth antics with his classic Australian larrikin colleague, Simmo, who was enthusiastically delivered by Daniel Bourke.

As Betty and Trish struggle to maintain amicability between themselves, they are also struggling in their relationships with their shared adult children Pax (Nicholas Pavan) and Annabel (Stephanie Lee). The family breakdown has inflicted major changes and stresses upon Pax and Annabel. As a result, they too are questioning their life choices and meaning. Nicholas Pavan gave an honest portrayal of Pax and clearly depicted his anxiety as he grapples to process the changes to his family.
Pax’s sister, Annabel, was marvellously played by Stephanie Lee, who illuminated the stage. I recently had the pleasure of watching Stephanie in another production and both times I have found her performances captivating. She has a delightful stage presence and an innate talent for acting.

Luke Consani gave an earnest presentation of the elusive, somewhat cryptic, character Myron, who spread goodwill and wisdom to those he encountered. He may even have possessed a little Christmas magic, but I’ll leave that up to your interpretation.

A Very Newy Christmas had the theatre packed and the audience roaring with laughter throughout. This was one of the best turnouts I have seen in some time at the Playhouse and it was truly wonderful to see the support and interest the play has invoked. A Very Newy Christmas is a must-see for every Novocastrian, shedding light on real-life issues and comedy central to everyone in our community. With oodles of inside jokes for Newcastle locals and a good dash of Christmas spirit I would love to see this on seasonal rotation.

To book tickets to A Very Newy Christmas , please visit https://civictheatrenewcastle.com.au/what-s-on/all-shows/a-very-newy-chrissy.

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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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Monopoly: The Unauthorised Musical

02/11/202502/11/2025 Breanna Redhead🥉

Monopoly: The Unauthorised Musical Rating

★★★★★

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How refreshing to see a completely new theatre works here in Perth, clearly crafted with great care and thought. Monopoly: The Unauthorised Musical – whilst not perfect – is a breath of fresh air, offering an eclectic soundtrack, and committed performances across the board.

Originally created as a short-form musical by Jasper Cruden for his final composition assessment at WAAPA, the concept has since been fleshed out to full-length musical, now featuring 42 unique pieces of music (including underscoring) and an expanded story.

A strong ensemble cast brings to life our players (literally), each inspired by a classic board game. Together in a kooky Wonderland-esque realm they band together to take on the power hungry Mayfair.

From the moment you enter the theatre you are drawn into the world of the show, with a suite of board games offered in the foyer for patrons to try their hand.

This show was incredibly cast, with each actor not only physically embodying their characters to a tee but leaning into their archetypes with great energy. Strong performances from everyone – Caleb Haidary is astute and noble as Sir Knight, pining over Georgia Goff’s eccentric Lady Luck. Goff also shows great physicality in bringing to life Madame Charade. Ethan Battle was a livewire as Admiral Cannonblast – showing excellent characterisation and vigour. While Stacey Gobey displays her vocal prowess as the cunning Mrs Wordsmith.

Personal standouts were Mary Carter as the audacious Mayfair, with a captivating stage presence and stunning vocal performance, such a joy to watch. While I couldn’t stop smiling at Jake Battle as Baron Von Strategy, always giving 1000% even when not the focus of a scene.

Jordan Richards as game-opposed Scott had the hardest job in my eyes, portraying an ‘average joe’ among a sea of exuberant personalities. While giving a solid performance, true to his character, it ultimately felt a little flat against the rest of the cast simply given its nature.

I really enjoyed the set in this production, minimal but well utilised – Sarah Halton’s design, built by Henry Howard, featured multiple cut-up, jagged wardrobes – again leaning into a whimsical feel, providing an ambiguous sense of time and place. The crooked pieces also help serve as platforms, tables and cupboards throughout which allowed for fun and varied blocking. Imaginative lighting design from Matthew Roberts was also a welcome addition, particularly in the ‘rabbit hole’ and ‘table flipping’ scenes.

As with any new works there were some areas for improvement. Musically, the score is wonderful, spanning a number of genres while keeping true to the essence of the show. The orchestra (under the musical direction of Jasper Cruden) didn’t miss a beat in bringing it to life. A couple songs I felt were misplaced in their whereabouts of the show but still worked well overall. The vocals were slick with harmonies evenly balanced and blending well, though I feel singers were at times over powered by the orchestra. Diction and projection from most whilst singing could also be improved, especially given this is a new work not already familiar to audiences, and the numerous counter-melodies that feature in the show it was sometimes hard to hear the different layers.

Though not a dance heavy show, Tayah Crothers’ choreography was well suited to the genre and executed with flair, while some of the more sharper moments could have benefited from improved timing.

Ian Tassicker’s script is quite witty, something you wouldn’t expect from the dark tones given off in the marketing of the show. A real pleasant surprise. Personally, pacing was a main area for improvement, with some scenes feeling quite clunky in a very intentional set up to a song, while others were the opposite and felt too quick to jump into another tune. I wonder how much of the original song cycle was featured in Act 1 compared to Act 2 as the latter felt quite rushed and not as thought out, in a bid to wrap up loose ends.

All in all, this show is fantastic – though some elements may need refining, it did not impact my overall enjoyment. For a world premiere of a new musical the Roundhouse team have done an excellent job with their debut production, so with just a few weeks left, do yourself a favour and go and see this lively and unique new work.

To book tickets to Monopoly: The Unauthorised Musical, please visit https://www.trybooking.com/events/1464504/sessions.

Photographer: Deprimo Photography

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Bunyip Barons

02/11/2025 Anastassia Gerakas🥈

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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