Roxy Lane Theatre: At Home With The Sheridans

At Home With The Sheridans

At Home With The Sheridans Rating

★★★★★

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Nestled in the affluent leafy western suburbs of Perth a dramedy unfolds between childless couple Mr and Mrs Sheridan, two burglars and Mr Sheridan’s mistress.

Written by Perth playwright, Yvette Wall and directed by Russell Chandler, the Roxy Lane Theatre presents a play that breaks through the superficial exteriors of society which categorises people into classes to reveal characters that perhaps are not so different from one another.

As Chandler puts it “what is the real difference between successful white collar middle aged Western Suburbs dwellers and younger disaffected and troubled youth that have fallen off the tracks?”

When seasoned burglar Jake and his accomplice and first-time home intruder, Marilyn break into the Sheridan’s house, they don’t get very far in their quest to steal when Max Sheridan arrives home early with his mistress Zoe. Unbeknownst to Max and Zoe who are in the living room, Jake and Marilyn are hiding in the master bedroom. It doesn’t take long until the four become acquainted. A brawl between Max and Jake ensues and just when things couldn’t get worse for Max, his wife arrives homes.

The play gives the audience the opportunity to see the different dynamics between the characters and a deeper insight into who they are. In the first scene it’s Jake and Marilyn. Both characters are troubled young souls who got an unfair start to life and haven’t done much to turn their lives around. It is revealed that Marilyn has a young son in foster care and is in an abusive relationship. Underneath Jakes tough exterior he cares for Marilyn and tries multiple times to get her to see that her abusive Paul does not love her.

When Jake and Marilyn are hiding in the bedroom, the audience gets to see the dynamic between Max and Zoe which is funny and playful until Zoe drops a bombshell of secret and shows him a picture that will change his life forever.

The final scene is between Max and his psychologist wife Beth which I’m not sure how realistic their resolution is but it’s fair to say it appears to end well for all five characters.

Out of all the characters, Beth, played with such grace and elegance by Emma Kirby, is the most kind-hearted and likeable. The other actors Michael Hewson, Genevieve Wilson, Chris Harris and Lisa Divall were all convincing in their performances and it was clear to see the stage chemistry between them all.

At Home with the Sheridan is an enjoyable, short and sweet play that takes a light-hearted and humorous approach to societal structures.

To book tickets to At Home With The Sheridans, please visit https://www.taztix.com.au/roxylanetheatre/.

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The Revlon Girl: Grief, Grit and Grace in a Welsh village

The Revlon Girl

The Revlon Girl Rating

★★★★★

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In a quietly moving production, The Revlon Girl brings to life the complex emotional aftermath of one of the UK’s most devastating tragedies – the Aberfan disaster of 1966. Directed by Jennifer Willison, this amateur production presented by Hunters Hill Theatre honours the resilience and humanity of those left behind.

On the morning of 21 October 1966, a coal waste tip collapsed onto the village of Aberfan in South Wales, burying Pantglas Junior School. The landslide killed 144 people, including 116 children. The event, as sudden as it was catastrophic, left a community overwhelmed by grief, anger, and unanswered questions.

Docking’s play imagines a meeting of four bereaved mothers, eight months after the tragedy. They gather in a back room above a pub – still deep in mourning, but grasping for something, anything, to lighten their pain. In a gesture that’s equal parts defiant and desperate, they’ve invited a Revlon representative to speak to them about beauty. The logic? Maybe a touch of lipstick could lift the spirits, even briefly.

Each woman carries her grief differently. Rona (Anthea Brown) is fiery and confrontational, lashing out at others to mask her own despair. Sian (Laura Stead) is eager to please, lost in a fog of denial and abandonment. Marilyn (Kate Kelly) clings to the hope of contacting her children through spiritual means. Jean (Annalie Hamilton), heavily pregnant again, struggles to reconcile the past with the future growing inside her.

The Revlon Girl (Niamh McKervey) at first seems naïve and out of her depth, awkwardly tiptoeing around the room’s raw emotional undercurrents. But as the evening unfolds, she reveals her own hidden grief – bridging the gap between outsider and insider, and showing how even small acts of care can resonate in moments of deep despair.

While the play echoes with sorrow, it’s peppered with disarming humour and small moments of grace. The dialogue is rich with wit, capturing the unspoken ways people try to survive the unbearable. It’s a credit to the cast that these tonal shifts feel authentic, and not forced.

The minimalist set (Casey Moon-Watton) and restrained lighting (Wayne Chee) focus attention exactly where it should be – on the women, the words, and the emotional tension in the room. Subtle sound effects – rain, thunder, distant echoes – underscore the weight of memory without distraction.

The Hunters Hill Theatre’s home at Club Ryde is a relaxed and comfortable venue, seating around 100 in an air-conditioned auditorium. With food and beverages available at club prices downstairs, and ample onsite parking, it makes for a welcoming evening out.

Running from 30 May to 22 June 2025, The Revlon Girl is a sensitive, compassionate portrayal of unimaginable grief and the strength it takes to keep going. It reminds us that even in the darkest moments, connection – and yes, even a little lipstick – can offer a flicker of light.

Written by Neil Anthony Docking | Directed by Jennifer Willison | Presented by Hunters Hill Theatre at Club Ryde

To book tickets to The Revlon Girl, please visit https://www.huntershilltheatre.com.au/whats-on.html.

Photographer: Dan Ferris

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A Campy, Quirky, Delightful Emotional Rollercoaster Ride That Will Delight

Madame Martha's Parisian Cabaret

Madame Martha’s Parisian Cabaret Rating

★★★★★

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Madame Martha’s Parisian Cabaret is a campy, quirky, delightful emotional roller-coaster ride, that will hit you in all of the feels, over a truly captivating hour of queer joy.

What better place for my first theatre review than my beloved Old Fitz, which I fell in love with with “Cut Chilli”, and have since frequented as a viewer, and even performed in their “Senseless & Fitz” Shakespeare night. The vibe is funky and atmospheric. The bartender very accommodating of requests for a “lemonade top up” when I realised that Negronis may look cool, but taste rather vile.

The welcome is warm as we enter the theatre. The set is very much in line with Parisian cabaret. Deep burgundies and mixed glass lampshades, doorways adorned with “show lights”. I sit in the second row, knowing all spots in this delightfully intimate theatre are a winner.

Then our beautiful trio enter; graceful, careful, flowing and enchanting as they fill they space with their bodies and soon their harmonic voices. With Meg Hickey having absolutely no limits to what can be achieved with those vocal pipes… and an accordion to boot. Their costumes are gorgeous and each artist moves with their own unique elegance as they dance and sing a rendition of “Bad Guy”.

It becomes clear their physical freedom, poetic exploration and musical gifts feed off the shared talent of the trio and their reverie is only broken by the omnipresent, fearsome watchful eye of “Madame Martha”.

The choreography is stunning. Every movement is full-bodied and intentional. There is a collective heart between this troupe that keeps you captivated, entranced and SAFE as deep themes are tackled through the many facets and layers of “cabaret” with a touch of Vaudeville. Be prepared for tits and tips (well, more than that, but I couldn’t resist the alliteration). The actors bare themselves both literally and figuratively on the stage with full abandon and celebration of their forms.

My eyes filled with tears as Iva Rosebud delivered a deeply moving “What Makes A Man A Man” taking us on a heartfelt musical journey.

Jens Radda is giving “Mother” energy and keeping the three of them connected and intertwined throughout.

The crowd favourite was clearly the extraordinary “Pink Pony Club” where the harmonies slayed, and the audience were ready and rearing when it became clear we could now sing and clap along.

This show lets you all the way in and touches you in deep places. It was a delight!

To book tickets to Madame Martha’s Parisian Cabaret, please visit https://www.oldfitztheatre.com.au/madame-marthas.

Photographer: Solitude & Co

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Mary Jane – A Quietly Devastating Portrait Of Love And Resilience

Mary Jane

Mary Jane Rating

★★★★★

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Written by Amy Herzog | Directed by Rachel Chant | Presented by Mi Todo Productions at the Old Fitz Theatre

In Mary Jane, director Rachel Chant and playwright Amy Herzog deliver a moving, understated, and profoundly compassionate story. Set in New York, the play follows the life of Mary Jane, a single mother caring for her chronically ill son, Alex. With remarkable grace, humour, and resilience, she faces a cascade of challenges – yet never loses her grip on hope.

Eloise Snape brings quiet power and emotional authenticity to the role of Mary Jane. Her performance is restrained yet deeply affecting, anchoring the production with a sense of dignity and realness that never veers into sentimentality. Through her, the audience is drawn into a series of poignant, often heartbreaking moments.

Alex, born extremely premature, requires round-the-clock care. Mary Jane’s world is shaped by hospital visits, shifting diagnoses, and a rotating cast of support figures. Much of the play’s strength comes from the ensemble cast – Sophie Bloom (Hensser), Janine Watson, Di Adams, and Isabel Burton – who deftly inhabit multiple roles, from friends and neighbours to nurses and chaplains. Their seamless transformations mirror the changing stages of Mary Jane’s life and underscore the idea that help often arrives in different forms.

The fluidity of the staging – shifting from Mary Jane’s modest apartment to hospital waiting rooms and children’s wards – is handled with quiet elegance, thanks to production designer Soham Apte and stage manager Matilda Holton. Lighting design by Izzy Morrissey and Luna Ng, along with Clare Hennessy’s subtle musical cues, help shift tone and place without disrupting the flow.

The American accents, coached by Linda Nicholls-Gidley, were well executed across the cast – an impressive feat for an all-Australian ensemble. Director Rachel Chant handles the material with a light yet sure hand, allowing the play’s emotional weight to emerge organically, without melodrama.

Originally described by The New York Times as “the most profound and harrowing of Ms Herzog’s many fine plays,” Mary Jane is slow-burning and gentle, but never dull. It holds the audience with quiet force, unfolding with empathy and depth. It’s no surprise the work was nominated for four Tony Awards, including Best Play.

Presented by Mid Todo Productions and executive producer Chad Traupmann, this production of Mary Jane offers a rich, affecting night at the theatre. On now until 15 June at the Old Fitz Theatre, it’s the kind of intimate, beautifully crafted play that lingers long after the final scene. And yes – the pub upstairs does excellent food and drinks, making it a perfect evening out.

To book tickets to Mary Jane, please visit https://www.oldfitztheatre.com.au/book-now.

Photography: Phil Erbacher

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