I Will Never Look At Another Grey Nomad Convoy The Same

Caravan

Caravan Rating

★★★★★

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‘Caravan ” by Donald Macdonald, an Australian writer, was first published in 1984 and reworked in 2000. After a wet week in sunny Brisbane, it was ironic that Nash Theatre opened with a play about a caravan holiday that hits a purple patch.

Firstly, a special mention of the set – wow, every barbie doll owner’s dream – the inside of a full-size caravan with bunk beds, double bed, sink and table and bench seats that took up the whole stage. It really was impressive, a great design that allowed the actors to be in a caravan, brilliant concept. Well done to the design and construction team led by director Phil Carney.

What could possibly ruin a rain-soaked caravan holiday with friends at a nudist beach? The mostly matured audience lapped it up as the high jinks and low spots of 3 couples were played out in the caravan of the Robinsons. Penny and Parkes (who had left the children at home) were joined by childless couple and long-time friends Monica and Rodney and “the Man about town” Pierce, with his latest, younger girlfriend, Gwendolyn.

What starts as a holiday with friends soon gets very complicated as it transpires there are friends and then there are friends with benefits, yup the good old running off with your best friend’s husband plot. The clumsiness of the affairs, the revelations of further affairs are all brought to the surface in this funny tongue in cheek look at the swinging side of caravan life.

Penny aka Phillipa Bowe was the unlikely adulteress and with an air of Mrs Bouquet had the audience chuckling away with her dowdy dress sense, it was at times like watching Susan Boyle flirting with Simon Cowell, very comical and funny to watch.

 

 

But with a husband like Parkes, played by James Hogan no wonder she is looking further afield. The aloof Parkes couldn’t seem to look anyone in the eye as he fussed about his precious caravan, and wanting to run things his way or the highway it did not take much to stir him up.

Gemma Keliher played Monica, mother to 2 fur babies, a sort of Kim character from ‘Kath and Kim” and she played it well. Great bogan voice, stylish dress sense and a downtrodden husband. Her experience as a performer did give her character a very polished edge and she was very entertaining to watch on stage, with mannerisms and interactions with the other characters that led to some very funny moments.

Nathan Seng as Rodney was the most unlikely to have an affair, but what would we know. What transpired was a rather nerdish Casanova adding to the hilarity of the awkward situations the lovers created.

And what group of friends wouldn’t be complete without a good looking rogue which was played by the rather loveable Hayden Sullivan as Pierce. With younger girlfriend in tow, he too harboured secret desires and his youthful and swashbuckling charm suited the character. This is his first appearance with Nash and he fitted right in.

Samantha Herde played a naive Gwendolyn with a sweetness that added a dynamic of youth to the middle age spread of actors. With traits such as twirling her hair and enthusiasm she brought a believability to her character with the audience on her side when the others were giving her a hard time.

Overall, this was a fun way to spend a Friday night – very well received by an audience that may have lived that holiday themselves tsk tsk. Again, congratulations to Phil Carney and team.

Make sure you catch it before it ends on the 6th of June. This friendly community theatre is tucked away in the leafy suburb of New Farm in the Merthyr Road Uniting Church. Lovely area with popular eateries nearby

To book tickets to Caravan, please visit https://nashtheatre.com/.

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Gag Reflex

Gag Reflex

Gag Reflex Rating

★★★★★

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Whenever fan fiction is brought up in film, theatre or just in conversation, I’m always a little sceptical and often very protective. It’s a community that people take little effort in actually understanding or finding any merit in and end up using to poke fun at, so as a retired fan fiction writer I can spot a poser a mile away. So when I walk into La Mama to see Gag Reflex I’m keeping my ears piqued for any “lemon”, “y/n” or retrospectively terrifying age gaps. Thankfully, Flick knows their way around.

Gag Reflex follows three teen girls near the end of their final year of high school as they lament about their lack of schoolies funds. With an idea to win a writing prize by writing smutting monster fanfiction, their relationships begin to strain and evolve. Shenanigans ensue.

Louisa Cusumano as Anna is an absolute riot. Cusumano’s endless energy is infectious and guides us into the tone and style of the play perfectly. Her ability to make the most ridiculous line come out naturally needs to be studied. Cusumano also brings a gentle layering to Anna that allows us to critique her without forgoing our empathy.

Rheya, played by Miela Anich, brings a needed straight man to the dynamic. Full of pride, insecurity and exasperation, Anich’s performance is peppered with stunningly curated micro inflections and expressions that emulates the girls I knew in school. Anich balances the tender and stubborn sides of Rheya beautifully, keeping all sides present in every single moment.

I am in love with the way Immi’s awkwardness is brought to life by Mia Tuco. Immi is incredibly endearing from the moment she enters, seamlessly sliding from bashful to saucy at a moment’s notice, along with taking the responsibility of delivering a gut wrenching scene near the end of the play. Tuco holds all of the extremes of Immi in a way that is both consistent and exhilarating.

 

 

Tansy Gorman has made the ballsy gamble to play the vast majority of the show with the cast sitting on the ground which pays off wonderfully. So much of my teenage life was done sitting on stairs, on grass and on bedroom floors – to force in chairs and tables would feel like a farce. It does, however, require incredibly charismatic performers in order for Gorman to pull it off, which thankfully the ensemble has in spades. Every line is made into a joke, the funniest possible physicalisation is somehow found every time, by no means will Gag Reflex let you be bored.

I have to commend the intimacy work by Margot Fenley because the way in which they lean, grab, and hold each other feels incredibly real. It almost feels voyeuristic at times to watch them interact. It would also be amiss to not mention the fanfiction scenes which were performed with such love for camp and cringe, that the entire audience was in stitches without fail. The one thing that was a bit difficult to ignore however, was that every time we went back to school, the three would be sat in the same upstage corner which did start to feel a little repetitive, especially as it exposed how little they were using the opposite corner and the centred bench.

Karli-Rose Laredo has created a beautifully yonic set, with a cheeky patterned carpet and cavernous drapes. The stage was contained within a frame which allowed Justin Gardam to project part titles and comments, guiding the tone of the show along with giving me Wattpad cringe attacks (positive) from the painstakingly accurate fanfic comments.

Ultimately, it is Flick’s writing that makes this show so special. It is notoriously difficult to write how teenagers talk, let alone in a way that is this uproariously funny. This is not to say the script is entirely without holes, there are a few abandoned plotlines – particularly Immi and Rheya’s secret plan come to mind, but use of misused slang, specific gaps in knowledge, and jokes that are funny to no one but themselves, is the most accurate portrayal I have ever seen of teenage girls.

Selfishly, I do wish that the Gag Reflex had gone more into the merit or cultural impact of fanfiction but that would be missing the crucial point of this show – there is a reason why it is specifically using Wattpad. This choice might seem inconsequential to the fanfiction foreigner, but this would be an entirely different show if it was based on fanfiction.net or Archive of Our Own. Flick has chosen the site that was the cultural staple of teenage girls being cringe, overly sexual, and writing badly – exactly what this show subversively finds radical joy in. Anna, Immi and Rheya and complete messes. They’re selfish, crude, oblivious and sometimes downright annoying, but it is exactly these traits that make them so believable and loveable. Friendships in high school with insufferable teenage girls you’’ ever meet are some of the most cherished relationships you’ll ever have in your life, and Gag Reflex knows it.

To book tickets to Gag Reflex, please visit https://www.lamama.com.au/whats-on/la-mama-presents-2026/gag-reflex.

Photographer: Darren Gill

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Knock And Run Theatre’s The Lifespan Of A Fact

Feature-The Lifespan Of A Fact

Truth Gets Put On Trial In Knock And Run Theatre’s The Lifespan Of A Fact

What happens when facts, feelings, and deadlines collide?

Knock And Run Theatre presents the Newcastle premiere of The Lifespan of a Fact – a sharp, fast-paced comedy inspired by a true story that asks whether truth is ever really black and white.

Based on the acclaimed book by celebrated essayist John D’Agata and fact-checker Jim Fingal, the play follows an ambitious young intern tasked with verifying every detail in a high-profile magazine article before publication. What begins as a routine edit quickly spirals into a hilarious and heated battle over accuracy, artistic license, and who gets to decide what the truth really is.

Originally staged on Broadway starring Daniel Radcliffe, Bobby Cannavale and Cherry Jones, The Lifespan Of A Fact finally hits Newcastle stages for the first time this September. Filled with razor-sharp dialogue and escalating tension, The Lifespan Of A Fact explores misinformation, journalism, ego, and storytelling in an era where facts themselves often feel up for debate. Fans of The West Wing, Succession and The Newsroom will love The Lifespan Of A Fact.

Directed by Patrick Campbell, the production features veteran Novocastrian actors James Chapman (School Of Rock: The Musical), Angela Robertson (The Goat Or Who Is Sylvia) and Carl Caulfield (Being Sellers) and promises an energetic theatrical experience packed with wit, urgency, and surprising relevance.

The Lifespan Of A Fact is “Buoyantly literate… You’ll find yourself happy to have your preconceptions disturbed and assumptions unsettled.” says The Washington Post. “Wholly resonant questions [are] wrestled with in this briskly entertaining play.”

Known for producing bold and inventive independent theatre, Knock And Run Theatre continues its commitment to contemporary works that challenge and entertain audiences in equal measure. The Lifespan Of A Fact follows an critically acclaimed production of “I And You” in April staged at The Royal Exchange.

PERFORMANCE DETAILS
The Lifespan Of A Fact
Presented by Knock And Run Theatre
PLAYHOUSE, CIVIC THEATRE
WEDNESDAY SEPTEMBER 9th – 7:30pm
THURSDAY SEPTEMBER 10th – 7:30pm
FRIDAY SEPTEMBER 11th – 7:30pm
SATURDAY SEPTEMBER 12th – 2pm & 7:30pm
Tickets ON SALE NOW: www.civictheatrenewcastle.com.au
More info: https://www.knockandruntheatre.com/thelifespanofafact

 

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Sweet Charity

Sweet Charity

Sweet Charity Rating

★★★★★

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Hornsby Musical Society’s production of Sweet Charity succeeds because it understands the difficult balance at the heart of the musical. Beneath the colour, comedy, energetic choreography, and sharp stylisation sits a story about loneliness, resilience, and the exhausting act of continuing to hope. This production never loses sight of that emotional core.

At the centre of everything is Victoria Alfieris as Charity Hope Valentine, and it is her performance that anchors the entire production. Alfieris brings charm, vulnerability, spark, and sincerity to the role without ever reducing Charity to caricature or sentimentality. Her performance captures the essential contradiction of the character: a woman repeatedly bruised by disappointment who continues moving through life with irrepressible optimism. That emotional openness carried through her singing and dancing, creating a Charity who always felt emotionally alive and in motion.

Several musical numbers particularly showcased her strengths. “You Should See Yourself” was tender and sincere, while “If My Friends Could See Me Now” balanced comic exuberance with emotional honesty beneath the fantasy. “I’m A Brass Band” became one of the evening’s emotional high points, with Alfieris capturing Charity’s overwhelming rush of hope and possibility with infectious warmth.

James Denton’s Oscar Lindquist provided an effective counterpoint to Charity’s energy. Denton wisely leaned into Oscar’s physical awkwardness, using nervous movement, hesitant posture, and restrained reactions to make the character endearing rather than merely eccentric. This physicality gradually softened during the Ferris wheel scene, allowing genuine warmth and connection to emerge naturally between the two leads. Denton’s understated comic work during “I Love to Cry at Weddings” was particularly effective, with small physical reactions and visible discomfort generating both humour and sympathy.

 

 

Among the supporting cast, Max Waterson stood out as Vittorio Vidal. Rather than pushing the role into parody, Waterson gave Vittorio genuine charm and sweetness, especially during “Too Many Tomorrows,” which landed with surprising sincerity. Alfieris and Waterson also played beautifully off one another during the apartment sequence, balancing comedy, fantasy, and genuine warmth in a way that made Charity’s excitement feel completely believable.

The ensemble work throughout the production was consistently strong. “Big Spender,” “Rich Man’s Frug,” and “Rhythm of Life” each possessed distinct physical identities and strong collective energy. Director and choreographer Lauren Oxenham, who also choreographed Hornsby Musical Society’s Grease last year, again demonstrated a strong instinct for ensemble movement and theatrical rhythm. Where Grease required buoyant nostalgia, Sweet Charity demanded sharper stylisation and emotional edge, and Oxenham’s choreography rose confidently to that challenge.

The production’s visual design also deserves praise. The abstract, block-like set design, at times reminiscent of Rothko paintings, created flexible playing spaces that transformed smoothly into locations such as the elevator, closet, and Ferris wheel. Costumes brought generous colour to the production while still allowing larger numbers like “Rich Man’s Frug” and “Rhythm of Life” to develop distinct visual identities. Lighting was also used effectively to shape mood and transitions, though from some audience positions several lighting cues projected directly into sightlines and briefly became distracting.

Musically, the production maintained strong momentum throughout the evening, with the orchestra supporting the show’s shifting emotional rhythms without overwhelming the performers. Just as importantly, the production trusted the emotional honesty of the material. Rather than treating the ending as cynical, the final moments suggested something more hopeful: that despite repeated disappointments, Charity retains the capacity to keep moving forward.

That sense of resilience lingered after the curtain call. In the end, Hornsby Musical Society delivered a production of Sweet Charity that was not only entertaining and visually confident, but emotionally sincere, anchored by a warm and compelling central performance from Victoria Alfieris.

To book tickets to Sweet Charity, please visit https://www.pioneertheatre.com.au/whats-on/sweetcharity.

Photographer: Stefanie Roche Dobb

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