Marian St Theatre Campaign Update! Fundraising Goes Viral, Forcing Council’s Hand…

Feature-Marian St Theatre

An extraordinary community fundraising campaign has forced Ku-ring-gai Council back to the table in a last-ditch bid to save Marian St Theatre.

After more than 250 residents attended Rally in Red on Sunday, 215 supporters have contributed more than $76,000 towards the $100,000 needed to preserve the approved architectural plans for Marian St Theatre before they expire on 19 August.

In response to the campaign, Ku-ring-gai Council has called an Extraordinary General Meeting (EGM) for next Monday to consider rescinding its previous decision to abandon the project and instead undertake the urgent works needed to preserve the approved plans.

Marian St Theatre Action Chair Jessica Blaxland Ashby said the response had been extraordinary. “On Sunday we rallied because we were angry. In just three days, the community has raised more than $76,000 and forced Council back to the table.”

“If we can raise the remaining funds, Councillors have the opportunity to reverse their previous decision and preserve the only approved pathway to reopening Marian St Theatre.”

Rally in Red graphic.png

The emergency campaign was launched after Council voted on 16 June to allow the approved architectural plans to expire. If the plans are lost, campaigners say more than 20 years of consultation, design work and planning, together with $1.7 million of public investment, will be wasted, and reopening Marian St Theatre would be delayed by another decade – or lost altogether. Due to the EGM announcement, the fundraiser has been extended from Thursday to Sunday.

The approved redevelopment, designed by leading theatre architects Tonkin Zulaikha Greer, would transform Marian St Theatre into a contemporary arts centre with spaces for theatre, music, dance, exhibitions and community events.

All donations will be tax-deductible and will be refunded if Council ultimately decides not to preserve the approved plans.

Blaxland Ashby said the campaign had demonstrated the depth of community support. “The community has been extraordinary. Hundreds rallied. Thousands have signed the petition.”

“But we’re not there yet. We still need the remaining funds before the end of Sunday.”

The campaign has attracted widespread community support following Sunday’s Rally in Red, which brought together performers, families, community leaders and artists in a sea of red outside Gordon Library.

Davidson MP Matt Cross reiterated his support for preserving Marian St Theatre both at the rally and in a speech today in state parliament, and encouraged signatures to the petition to the NSW Parliament. Federal Member for Bradfield Nicolette Boele described Marian St Theatre as “a clear case where, rather than building new infrastructure from scratch, we can step in now to preserve and revitalise the spaces that already exist.”

Blaxland Ashby thanked all the generous donors. “If Council won’t save Marian St Theatre, we, the community, will.”

GoFundMe: https://www.gofundme.com/f/urgent-save-marian-st-theatre-we-have-until-thursday
Petition: https://www.parliament.nsw.gov.au/parliamentary-business/petitions/sign-epetition?epetitionId=773&ref=10902
Website: https://marianstaction.com.au/

 

Spread the word on your favourite platform!

The Beast

The Beast

The Beast Rating

★★★★★

Click if you liked this article

5

The Beast ought to come with a warning, for several reasons. Most will find it confronting. Some will be triggered by the topics explored on stage. And if you’re a vegetarian, you will see blood-red.

Written by playwright, actor, musician and composer Eddie Perfect, The Beast gives some insight into his brilliance, albeit warped mind. The Garrick Theatre stage production succeeds in its interpretation by reflecting humanity at its worst, which director Lynne Devenish delivers with messy aplomb alongside stage manager Nikita Nankiville.

The show opens with a boat trip that no one should have taken, played out by Skipper (Greg Ross), Simon (Russell Fellows), Rob (Paul Cook) and Baird (Darcy Franz). A misguided tree change follows for Rob and wife Sue (Susan Meikle), who join married couple Simon and Gen (Clare Alason). They reunite in the country, and the saying “The road to hell is paved with good intentions” aptly speaks volumes about a society scrambling for meaning.

The finale culminates in a dinner party where every guest is culpable for the destruction of any remaining shred of morality. Their deplorable behaviour is immortalised in the gory nose-to-tail sequence, where Baird and his wife Marge (Katie Nowland) take centre stage as the moral compass of the group.

 

 

Cameo performances from Ben Vaughan-Sanders and Kieran Smith lightened the mood. However, the most surprising performance was delivered by the calf, played by puppeteer Astro Stewart, whose affinity for bovines is sympathetically delivered for all the animal lovers in the audience.

This is black comedy at its darkest as infidelity, racism and snobbery are some of the more palatable themes explored, alongside the heavy-hitting subjects of murder, cannibalism and paedophilia. In saying that, there were plenty of laughs to be had at the sheer ridiculousness of the self-imposed predicaments the characters find themselves in.

Script assistant Christine Offringa is to be commended alongside set designers and constructors Kel Camponovo and Andy Rahim, Joe Hoedermaker (sound and lighting), as well as operators Bella Melbin, Connor Barclay and Kelson McConnell.

I reviewed the show on opening night, which had been pushed back two days, and, if I’m being completely honest, I felt it could have benefited from more preparation to iron out those opening-night hiccups and unpolished sequences.

But as they say, the show must go on, especially when it comes to The Garrick Theatre’s jam-packed production schedule.

Show dates: August 1, 6, 7, 8, 13,14 & 15 at 7.30pm and August 2, 8 & 9 at 2pm.

To book tickets to The Beast, please visit https://www.taztix.com.au/event/garricktheatre/.

Spread the word on your favourite platform!

Captain Moonlite

Captain Moonlite

Captain Moonlite Rating

★★★★★

Click if you liked this article

Most Aussies are familiar with the legendary Ned Kelly but there’s another Irish born bushranger that perhaps few have ever heard of and that is Andrew George Scott, also known as Captain Moonlite.

After the show I had to look him up to check whether he was a real person or fictious and indeed, he was real whose bushranging adventures spanned from the 1860s to 1880.

The Melville Theatre Company brings his life to stage in the musical Captain Moonlite created by Jye Bryant. The musical follows Moonlite as a run of bad luck and circumstance leads him toward an unlikely gang of bushrangers. Rather than presenting the familiar colonial outlaw as a rough, swaggering folk hero, its central figure is educated, articulate and homosexual. As such, the show challenges the audience to look beyond the romanticised image of the Australian bushranger and consider the human being behind the legend.

The production is particularly effective in its attempt to move beyond the conventional bushranger myth, presenting Moonlite not simply as an outlaw, but as a complex man shaped by misfortune, identity, and circumstance.

 

 

One of the production’s strongest features is its live instrumental music. The Irish influence in the music brings a sense of authenticity to Scott’s background.

Presenting Moonlite’s life as a musical form however, does not always feel essential to the telling of his life. His story is already dramatic and compelling enough as a clergyman, a prisoner, an outsider, and ultimately a bushranger whose personal identity challenges many preconceived ideas about Australian colonial masculinity. There are moments when the song and dance interrupts rather than strengthens the force of that narrative. The attempt to present the show as comedy also felt unnecessary. The material has enough theatrical power to stand as a straight dramatic work without needing to be framed as a musical. The production is most successful when it focuses on Moonlite himself.

Nevertheless, the production team did a terrific job in presenting the show, with Jamie Lea in the lead role.

I was impressed with the production’s achievements of the seamless transition between locations, particularly from the confinement of the jail cell to the formality of the courtroom then to intimacy of the boarding lodge room. The shift from jail cell to courtroom becomes almost symbolic from isolation to spectacle.

Captain Moonlite is an ambitious reimaging of the Australian bushranger and portrayal of Andrew Geroge Scott.

To book tickets to Captain Moonlite, please visit https://melvilletheatrecompany.au/seasons-2026.

Photographer: Alan Gill

Spread the word on your favourite platform!

Menopause The Musical 2026 Tour Cast Announcement

Feature-Menopause The Musical®

The global hit Menopause The Musical® has today unveiled the cast for its 2026 Australian tour, returning to stages across the country from August with a brand-new production. The tour opens in Geelong next month before travelling to Parramatta, Melbourne, Newcastle, Adelaide, Brisbane and Canberra, bringing audiences a night of uncontrollable laughter, uplifting celebration and shared sisterhood. Tickets are on sale now at www.menopausethemusical.com.au.

Taking to the stage in this hilarious, feel-good production are four queens of Australian musical theatre: Catherine Alcorn as the Professional Woman, Sally Bourne as the Housewife, Lena Cruz as the Earth Mother and Chelsea Gibb as the Soap Star.

Best known for her internationally acclaimed portrayal of Bette Midler in The Divine Miss Bette, Catherine Alcorn returns to Menopause The Musical® following her celebrated performances in the 2023 and 2024 Australian tours. A multi-award-winning performer, Catherine has built an impressive career spanning theatre, cabaret and live entertainment, performing throughout Australia, New Zealand and the United States.

With a career spanning more than four decades, Sally Bourne has entertained audiences across Australia and London’s West End. Making her professional stage debut in the title role of the original Australian production of Annie, Sally went on to appear in productions including Les Misérables, My Fair Lady, Jesus Christ Superstar, Kinky Boots and Sister Act, most recently appearing in Ned Kelly: The Musical for Victorian Opera.

Catherine Alcorn, Sally Bourke, Lena Cruz, Chelsea Gibbs MTM_26AU_Cast2000x2000.jpg

Originating the role of Cynthia in Priscilla Queen of the Desert the Musical and portraying Dr Sofia Martinez in the long-running television soap opera Shortland Street, Lena Cruz has forged a diverse career across stage and screen. Her musical theatre credits include In the Heights, Into the Woods, Hair and Singin’ in the Rain, while recent screen credits include Netflix’s Heartbreak High, SBS’s Erotic Stories and Ina.

A favourite with musical theatre audiences, Chelsea Gibb launched her career as Roxie Hart in the Australian production of Chicago, going on to perform the iconic role throughout Australia and internationally over four years. She has since appeared in many musical theatre productions including Anything Goes, The King and I and Cabaret, while her screen credits include Neighbours, All Saints and George of the Jungle 2.

The cast also features Hester van der Vyver as understudy.

Inspired by a hot flush and a glass (okay… bottle!) of wine, this hilarious, taboo-breaking musical follows four women who meet while shopping. As they swap stories of hormonal heatwaves, memory meltdowns, and midnight sweats, they belt out parodied hits from the ’60s, ’70s and ’80s — including I Will Survive, Hot Stuff, What’s Love Got to Do With It, and We Are Family — and discover that menopause isn’t the end, but a bold new beginning, lived with honesty, humour and a new attitude.

Since its 2001 premiere, Menopause The Musical® has played to over 17 million women (and brave men) in more than 500 cities and nine languages. In Las Vegas, it’s the longest-running musical in the city’s history, thanks to a record-breaking 17-year run — and counting. Australia’s love affair with the show began in 2005, when it opened at Melbourne’s Comedy Theatre. Originally slated for just two months, the season extended again and again, closing after seven months. Since then, the production has played to more than 1.5 million people across 200+ cities and towns nationwide — and holds the title as the longest-running musical ever to play Brisbane.

Produced by SK Entertainment, this new production is brought to life by a creative team led by the multi-award-winning director and choreographer Cameron Mitchell. Orchestrations and Arrangements by Damon Wade, Set Design by Frances Story, Lighting Design by Jasmine Rizk and Costume Design by Christine Mutton.

Menopause The Musical® is more than a night at the theatre — it’s a celebration of resilience, friendship and finding the humour in one of life’s biggest transitions.

Tickets are on sale now at www.menopausethemusical.com.au.

“Impossible not to laugh” — The New York Times
“Dollar for dollar… it’s the best show in town” — The Las Vegas Review Journal
“A rollicking girl’s night out” — Boston Globe
“Uproariously funny” — BroadwayWorld
“Women need this!” — The Today Show

MENOPAUSE THE MUSICAL® 2026 Australian Tour
Geelong Arts Centre: 21 – 23 August
Riverside Theatre, Parramatta: 27 – 30 August
Athenaeum Theatre, Melbourne: 2 – 6 September
Civic Theatre, Newcastle: 11 – 13 September
Adelaide Festival Centre: 16 – 27 September
Twelfth Night Theatre, Brisbane: 30 September – 11 October
Canberra Theatre Centre: 15 – 18 October

 

Spread the word on your favourite platform!

Subscribe to What's The Show

Reviews, show news and what is on, straight to your inbox.