Theatre

Full Cast Announcement For Once The Musical!

Feature-ONCE The Musical

An exceptional Australian cast led by award-winning director and performer Mark Taylor, and The Voice finalist Sian Fuller, will bring the eight-time Tony award-winning characters from Once to life in this cleverly reimagined production under the stewardship of Melbourne’s critically acclaimed independent production company, AG Theatre. With rehearsals well underway, the cast is preparing to bring this global smash hit to Melbourne’s Chapel off Chapel stage, with preview performances starting from the 8th May. Renowned director Pip Mushin is at the helm of this much loved production, having enjoyed a stellar run with AG Theatre over the last 18 months including their recent sell out productions of Avenue Q and Mamma Mia.

Green Room Award-nominated creative Mark Taylor, who recently directed the recently nominated production of American Psycho, is stepping into the lead role of Guy. Playing alongside Mark is 2021 The Voice semi finalist and seasoned musician, Sian Fuller, who is taking on the lead role of Girl. Both of these incredible performers are joined by a stellar community of talent that includes the highly respected performer Donald Bridges as Da – who has just been announced as the recipient of The MEAA Equity Foundation’s 2026 Lifetime Achievement Award.

The production also stars Western Australian actor and multi instrumentalist Frazer Shephardson as Billy; VCA student, vocalist and violinist Rose Stephens as Reza; actor, singer, and multi-instrumentalist James Frampton as Andrej; star of ABC TV’s The Piano and up-and-coming theatre performer John Yanko as Svec; seasoned international performer of stage and screen William Lopez as the Bank Manager; talented recent graduate of Federation University Misha Gordon takes on the role of Ex-Girlfriend; seasoned Melbourne musician, actor and composer Bridget a’Beckett plays the role of Baruska; young performer and violinist Felix Star plays Eamon; young child stars Lila Colombi, Imogen Young, Emersyn Orchard will play the role of Ivonka. The rest of this talented cast includes Kaiyeesha Kim Tambakau (Kye Tamm) as Emcee; and Jackson Cross and Belinda Jenkin as swings.

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Evolving from John Carney’s cinematic success in 2007 into a critically acclaimed stage production, Once has captivated theatregoers on Broadway and in London’s West End, thereby solidifying its distinguished position within the history of Western musical theatre. The production showcases the spell-binding score composed by Glen Hansard and Markéta Irglová, which notably features the Oscar-winning song, “Falling Slowly.” Once possesses the unique distinction of being the sole Broadway production whose musical composition has garnered the Academy Award, Grammy Award, Olivier Award, and Tony Award.

Once is truly a production that combines the infectious rhythm of Irish céili, an incredibly talented cast of actor-musicians, an Academy Award-winning soundtrack and a heart-warming story, following a Dublin-born busker and vacuum-fixer as he meets a young Czech mother with a faulty vacuum cleaner who reinvigorates his passion for music.

Tickets are available for purchase now at https://booktickets.com.au/

A pre-sale offer is currently available, with all tickets priced at $89 until March 30th.

Once The Musical will play at Chapel off Chapel from Wednesday to Sunday from May 8th, 2026 until May 30th, 2026.

CAST LIST:
Mark Taylor – Guy
Sian Fuller – Girl
Frazer Shepherdson – Billy
Rose Chambers – Reza
James Frampton – Andrej
John Yanko – Svec
Will Lopez – Bank Manager
Misha Eve Gordon – Ex-Girlfriend
Bridget a’Beckett – Baruska
Donald Bridges – Da
Felix Star – Eamon
Kaiyeesha Kim Tambakau – Emcee
Lila Colombi – Ivonka
Imogen Young – Ivonka
Emersyn Orchard – Ivonka
Jackson Cross – Swing
Belinda Jenkin – Swing

PRODUCTION TEAM:
Executive Producer: Andrew Gyopar
Director: Pip Mushin
Musical Director: Timothy John Wilson
Choreographer: Jamie White
Production Design: Abbey Stanway
Costume Design: Karen Spencer

Licensed exclusively by Music Theatre International (Australasia)
Music & Lyrics by Glen Hansard & Markéta Irglová
Book by Edna Walsh

DURATION
2hr 30 min with a 20-minute interval

 

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A Bold, Witty, and Unflinchingly Honest Exploration of the Human Psyche in Musical Form

Initial Consult: Taking diet culture to therapy

Initial Consult: Taking diet culture to therapy Rating

★★★★★

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Charlotte Grimmer’s Initial Consult- Taking diet culture to therapy (2026 MICF) at The MC Showroom is a bold, witty, and unflinchingly honest exploration of the human psyche. Grimmer is a graduate of NIDA Acting program, a high school dance and drama teacher. Charlotte has performed this show in Edinburgh, Sydney and the Adelaide Fringe Festival.

Bursting straight through the waiting room, Charlotte Grimmer’s initial court-mandated therapy session begins-and we, the audience find ourselves cast as the therapist. This fresh and fearless musical invites us into a hilariously triggering session filled with tap, rap, dance, and masterful keyboards. Grimmer’s performance showcases her diverse vocals, sharp wit and impressive comedic skillset.

The shows engaging narrative grapples with mental health, diet culture, perfectionism and the messy nuances of how we cope. Charlotte works the packed audience brilliantly- making pointed uncomfortable and knowing eye contact with every “therapist” in the room in moments that are at once awkward, hilarious, and deeply relatable. One moment the audience squirms, triggered and defensive: the next, they erupt with applause and laughter.

 

Initial Consult: Taking diet culture to therapy

 

The stage is set with minimalist flair: a chair, a keyboard, and a side table adorned with tissues, a plant, and a pot. By the end of the performance, it resembles the floor of a teenager’s bedroom. Each prop is purposefully placed and thoughtfully used. Grimmer’s inventive excellence is evident in every detail—every movement, and exaggerated facial expression, and lyric is meticulously placed—creating a remarkably clever and cohesive piece highlighting Grimmer’s inventive flair and keen attention to detail.

Sadly, Melbourne, Charlotte Grimmer has wrapped up her season and is heading back to Queensland. The MC Showroom is conveniently located near plenty of pubs and dining options and has a licensed bar for enjoying a drink during the performance —ideal for steadying one’s nerves before this funny therapeutic ride. Patrons should note that accessibility is limited, with 25 stairs and no all-access bathroom.

In a thoughtful touch, Grimmer acknowledges the show’s potentially triggering themes, directing audience members towards support organisations such as The Butterfly Foundation. This thought-provoking and playfully disarming performance will follow you home.

Deliciously daring, Initial Consult- Taking diet culture to therapy (2026 MICF) is the kind of performance that makes you laugh, wince, and reflect—sometimes all in the same breath. Side effects may include sore cheeks from smiling and the sudden urge to book a therapy session… or a tap class.

Love Aunty Kylie xo

To book tickets to Initial Consult: Taking diet culture to therapy, please visit https://www.themcshowroom.com/whatson/melbourne-international-comedy-festival-2026-initial-consult.

Photographer: Joel Devereux

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The Irreducible

The Irreducible

The Irreducible Rating

★★★★★

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After The Irreducible’s curtain call, I’m pretty sure I wasn’t the only one who stayed seated for a few more minutes, processing what on earth (or beyond it) I’d just watched. The promotional images – a contorted androgynous figure dripping in goo and digital warping – convey more of what the show is than anything I could describe. It’s fifty minutes of…that. And somehow, so much more.

The Irreducible is the brainchild of Cohan, creative director of Blank Space Productions and the show’s director, set designer and sole performer. From the moment the audience walks in, Cohan is surrounded by precarious black beams bathed in green light, some of which support bags and vats of transparent goo. In the best way possible, it looks like the set of an Alien knockoff. Cohan, naked except for a full-face balaclava and a large triangular boot on one foot, explores the space. Without dialogue, context, or even facial expressions for most of the show, what we are left with is an androgynous body navigating a familiarly alien world.

Cohan’s prowess as a physical performer is undeniable; their confidence in climbing the set and the variety in their movements is marvellous to behold. There is also a loose sense of storytelling as we see their creature gradually gain mastery over their environment and unveil more unexpected surprises in the set. There was a sense at some points of the creature moving to hit their marks rather than ending up naturally in certain spots, and the ending felt contrived to get Cohan offstage, but this wasn’t enough to break the methodical pacing. The worldbuilding is complemented by fantastic tech design, with a jarringly glitchy surround-sound score, beautiful use of lighting and the wonderful effect of projections on Cohan’s pale naked skin. The Irreducible may be strange and slow-paced, but it’s never boring, and the climax is well-worth the subtle build-up (hint: a lot of goo is involved).

 

The Irreducible
The Irreducible
The Irreducible

 

But what’s the point of it all? The queerness is undeniable, as the show revolves around a nude non-binary body and many set pieces and moments could be seen as an homage to camp low-budget horror. Theatre Works bills The Irreducible as “[an investigation of] the boundaries between the queer body, the self and object”, and there’s definitely a thrilling contrast between the natural nudity and movements of the central character and the industrial environment it finds itself in. I was personally reminded of the many connections scholars and artists have made between queerness and body horror, as those who feel alienated from their bodies choose to embrace what society deems as monstrous. Once Cohan’s face becomes visible, there is a sublime ecstasy in their expressions that feels both frightening and enticing. The show is called ‘The Irreducible’, which provokes the question: what parts of our experiences can’t be reduced? The body? The self? Feelings of alienation? The world around us? Perhaps all of the above, or anything else you can think of.

Regardless of what you take from it, The Irreducible is a thematically rich show with a lot to admire if not fear. It’s one of those artworks that’s something of a Rorschach test: what you see in it and how you respond may say more about you than the performance itself. All I can say is what I saw, which was an arresting celebration of queer monstrosity. Come for the spectacle, stay for the depth, and take as much time as you need to sit with it all afterwards.

To book tickets to The Irreducible, please visit https://www.theatreworks.org.au/2026/the-irreducible.

Photographer: Dan Rabin

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From Page to Stage: Percy Jackson Delivers

The Lightning Thief

The Lightning Thief Rating

★★★★★

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Art in Motion Theatre Company are back at the Don Russell Performing Arts Centre with The Lightning Thief: The Percy Jackson Musical—and as a family who love musical theatre and have devoured everything written by Rick Riordan, we were counting down the days until the show.

We arrived dressed in our finest orange and blue (as you do, IYKYK), and loved seeing so many audience members leaning into the fun—camp colours, hand-painted bead necklaces, the lot. This was an audience coming in with high expectations. Thankfully, this talented cast more than delivered.

The story follows Percy Jackson (Joshua Hollander), who discovers he’s a half-blood—his father is none other than Poseidon. After his life takes a sharp and unexpected turn, Percy finds himself at a camp for children of gods and mortals before heading off on a quest filled with monsters, riddles, and a race against time. Alongside Annabeth Chase (Una Minello) and Grover Underwood (Cosimo Trichelo), Percy must try to prevent a war among the gods.

No pressure.

 

The Lightning Thief
The Lightning Thief

 

The show runs for around two hours (plus intermission) and is fantastic value for a community theatre production. A huge congratulations to the cast—these performers can sing. As well as the 3 lead characters, hats off to the other performers who seamlessly transitioned between so many characters. The live band was incredible (and honestly, live music just lifts a show in a way nothing else can), their enthusiasm was contagious. This is Liam Tickner’s directorial debut, and what a strong one it is. The set design by Craig Delbridge is clever and effective, using simple elements to bring scenes to life (the statue garden was a standout). Costume designer Kylie Martin has also done a great job capturing the essence of each character.

I was asked before going, “Isn’t that for kids?”
And look… not no…

The recommendation is 13+, but if your younger kids are okay with some fight scenes, they’ll likely love it. The books are aimed at around 9+, and I’d happily take an 8 or 9-year-old. That said, this absolutely holds its own for adults—I’d have enjoyed it just as much without the kids (although I suspect I would never have been forgiven) and there were lots of adults there of all ages without children.

If you love Percy Jackson, mythology, urban fantasy, or just a good musical, this one is well worth your time. The show is still running from 16–18 April (with two performances on the 18th). You can find more information here: https://www.gosnells.wa.gov.au/news-events/events/lightning-thief

To book tickets to The Lightning Thief, please visit https://drpac.sales.ticketsearch.com/sales/salesevent/160626.

Photographer: Perfectly Picturesque Photography

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