Scene 1, Sunday afternoon. We meet the main players, namely Dr. Katherine Stockman and her family, friends, and local community members, as they gather for a casual BBQ lunch. Pay close attention to the interactions between each of the characters â they will evolve and change as the story progresses but itâs important to remember this immediate sense of community and family between them. The stage is set, the tongs being test snapped, beers cracked, and banter flowing freely. Upstage, nice and close to the audience, the cast are immediately under close scrutiny, but they react and interact with and around each other with practiced ease. Dr. Katherine shares the discovery that the local baths at the spa resort â which was her idea, and have become an important part of the towns economy â are poisoned with heavy metals.
Scenes 2 and 3 reveal Dr. Katherineâs tumultuous relationship with her brother, the mayor, and her father-in-law, as well as her warmer friendships with other members of the community. The community friendships Dr. Katherine has obviously cultivated work in her favour to help her get the word out about the poisoned bath house. But the Mayor has other plans. We are swiftly transported from Dr. Katherineâs living room to the entrance of the spa report, where we witness the Mayor marshalling the community members to oppose Dr. Katherine. The Mayor is persuasive and captivating in his speech, striking in his suit and confident in his decision. If you watch closely you can see the moment Dr. Katherine feels the rug is ripped out from underneath her.
And the lights lift for interval. The volunteers serving the refreshments on offer are so friendly, if you arenât paying attention you may not notice when the cast make their way to the auditorium and begin mingling with the audienceâŠ
Scene 4, Dr. Katherine is addressing the town in an informal meeting. She wants the town to understand the concerns and risks at the resort spa. In this case, the town is the audience. The rest of the cast wander around and through the auditorium, not only interacting with the audience, but throwing snarky comments to Dr. Katherine. Be prepared to be exceptionally frustrated at the outstanding performance from the male cast members of shouting down a female colleague, and keep your ears open for their amusing commentary in response to Dr. Katherineâs statements.
With a simple, but elegant stage decoration and furniture, each scene is clearly set. At no point was it unclear where the characters were, and their interactions with the props outstanding. Every prop, piece of furniture, and piece of set was used to its fullest, being moved, manipulated, acted with and around naturally, nothing stood out as out of place. The lighting, and the timing of, were never out of place, the same for which can be said about the sound. The costumes and makeup were perfect for the small town aesthetic â the men all looked very striking in their suits, and the women suitably dressed for their work and station.
One thing I did notice was the first and final scenes between Dr. Katherine and the Mayor felt shakier, and less in line with their characters than the rest of their performance. But every cast member brought their characters to life with very natural interactions, amusing expressions in the background, and a compelling presence on stage. This cast melded together spectacularly, even when their characters were at odds. âAn Enemy of the Peopleâ by St. Judeâs players is thoroughly enjoyable, professional, and not to be missed.
The smash hit Irish musical Once, opening in Melbourne this week at Chapel Off Chapel, has announced an extension to its strictly limited season until June 6th, following phenomenal demand at the box office. This highly anticipated production is helmed by the critically acclaimed new Melbourne theatre company, AG Theatre, and renowned Melbourne director Pip Mushin. AG Theatre has quickly established itself in the Melbourne theatre scene, enjoying a stellar 18 months of sell-out successes, including Avenue Q 2025 and Mamma Mia 2026. Dedicated to nurturing and promoting new Melbourne talent both on and off stage, AG Theatre is known for its innovative approach to classic and contemporary works, promising to captivate audiences again with a fresh, intimate, deeply moving, and cleverly reimagined take on this eight-time Tony Award-winning musical.
The show evolved from Irish filmmaker John Carneyâs low budget indie film in 2007, into a critically acclaimed global stage production that has captivated theatregoers worldwide – solidifying its distinguished position within the history of Western musical theatre. Its popularity is deeply rooted in its refreshingly grounded approach, focusing on two ordinary people – a busker and an immigrant who connect through music in the grimy streets of Northside Dublin.
The production boasts a stellar cast, featuring Green Room Award-nominated creative Mark Taylor in the lead role of Guy. Sharing the stage with him in the role of Girl is the phenomenally talented Sian Fuller, a semi finalist from the 2021 season of The Voice. Playing alongside Mark and Sian is the highly respected performer, Donald Bridges as Da. The production also stars Frazer Shephardson as Billy; Rose Chambers as Reza; James Frampton as Andrej; John Yanko as Svec; William Lopez as the Bank Manager; Misha Gordon as Ex-Girlfriend; Bridget a’Beckett as Baruska; Felix Star as Eamon; Lila Colombi, Imogen Young and Emersyn Orchard as Ivonka. The rest of this cast includes Kaiyeesha Kim Tambakau (Kye Tamm) as Emcee; and Jackson Cross and Belinda Jenkin as swings.
WHEN: Previews Thursday May 8 Official red carpet opening May 13 Extension to June 6th Chapel Off Chapel – The Chapel, 12 Little Chapel St, Prahran, 3181 Once The Musical will play at Chapel Off Chapel from Wednesday to Sunday from May 8th, 2026 until May 30th, 2026. Tickets are available for purchase now at https://booktickets.com.au/
âMil-aa-qaâ is a live studio cooking show, written and performed by Jude Soussan at The Blue Room Theatre. It was a pleasantly different experience from beginning to end. Jude, being the main character of two, explores food, chronic illness, culture and self-love, through an intimate and deeply personal lens, while being filmed by camera operator and AV assistant, Alleyne Aviles. The show within a show, reflects on how cooking and sharing meals can become one of the purest expressions of care, especially when living with dietary restrictions like coeliac disease. If cooking is your love language, you will also resonate with this show.
âMil-aa-qaâ transformed the intimate performance space into a Lebanese domestic kitchen. The mood felt warm and homely, while âAuntyâ (Jude) sings âAl Bostahâ while cutting onions as we entered. Bowls of spices, vegetables and traditional cookware were on display and the wider set extended into a carefully curated family living area. Generations of family history and inherited tradition were on display as framed personal photographs, floral prints, spice racks, lace doilies and dark wooden cabinets gave the room that cosy atmosphere youâd expect in grandmaâs kitchen.
Through stories of growing up Lebanese while navigating illness and the social pressures usually unappreciated in Lebanese culture, Jude reveals the emotional complexity of food – both nourishing and harmful. During âad-breaksâ, Jude interacts with the audience, treating them as part of the show. A discussion on the impact of coeliac disease, the comorbidities of depression associated with the disease and what constitutes respectful behaviours reveal that there is much opportunity to educate on this topic. Jude successfully provided that education without lecturing, giving layers to the show, being both entertaining and thought-provoking.
âMil-aa-qaâ created an intimate theatrical world that felt authentic, emotionally layered and quietly cinematic. The show celebrates resilience and the longing to preserve traditions of hospitality and shared meals with people you love, but also highlighting that when you are not being considered, that can quickly turn into resentment. Jude achieves maintaining her passion for food on her own terms by being more creative with her cooking. So what begins as struggle, transforms into healing and cultural reconnection. When the show ends, do not run out the door like we almost did. The audience were delighted to be invited by producer, Anja Starkiss, to try a warm bowl of her delicious cooking in the foyer. Iâd tell you what it is, but I think youâd better try it for yourself!
âMi-aa-qaâ is showing at The Blue Room Theatre until May 9th.
Oxford Falls Grammarâs Charlie and the Chocolate Factory was a grand glossy, decadently drizzled, deliciously complex and rich in flavour musical⊠oh yes, it was a sensational WhippleScrumptious Fudgemallow Delight of a production!
Based on the novel by Roald Dahl, the story of Charlie and the Chocolate Factory has delighted children and adults alike for 62 years, since its publication in 1964. Itâs no wonder that the eccentric (some may call him âcrazyâ) purple coated, top hat signature style, whimsical Willy Wonka found himself and his fellow characters in a musical, featuring an original score by Marc Shaiman, lyrics by Marc Shaiman and Scott Wittman and a book by David Greig. The musical also featured songs from the movie by Leslie Bricusse and Anthony Newley.
This was a huge cast, with 21 main characters, 20 dancers and an immense 31 person ensemble sometimes having to be onstage all at the same time, notably for when the spoilt children meet their fates and the little Oompa Loompas appear to âhelp clear outâ (I donât think this review would contain any spoilers but if you have not read this novel or seen the musical, you wouldnât know what an Oompa Loompa is, right?) Artistic Director Odessa R and Assistant Artistic Director & Stage Manager Megan G were tremendously talented in managing the large scope in putting this production on the stage.
The musical kicked off with the upbeat song, The Candy Man, as we are introduced to Willy Wonka played by Toby. After I had seen Toby perform this first song, I knew that the audience was in for a treat because of the way he introduced his character with quiet confidence and a little zany charm!
Charlie Bucket, played with pure sunshine-hearted goodness perfection by Grace, lives with her mum, played by Sierra and her four bedridden grandparents squeezed into bed, played by Christian, Zoe, Grace and Jack. Mrs Bucket works hard and is struggling to earn enough money to feed everyone. Sierraâs voice was showcased beautifully in a song, If Your Father Were Here, which she sings when Charlie is asleep, and when she dances with the memory of Charlieâs father, this added a quietly touching scene.
Soon we discover that Willy Wonka, after being mysteriously unseen for many years and his branded chocolate currently in the same way â unseen/ unsold – is now selling Wonka chocolate bars at a candy store near Charlieâs house. There is a new and exciting competition. Five Golden Tickets are hidden inside Wonkaâs chocolate bar wrappers, and each Golden Ticket ensures the winner a tour into Willy Wonkaâs factory and an opportunity to have a lifetime supply of chocolate! In quite a genius stroke of marketing, chocolate sales all over the world skyrocket with people scrambling to acquire a Golden Ticket, until all Wonka bars are sold out worldwide.
The announcements of the four winners are televised as the Candy Man shopkeeper (Toby) invites Charlie to watch each winner gloat over how they won their tickets. Jerry, played by Charlie and Cherry, played by Isabella, were the news announcers and carried the enthusiasm of the winners to the audience with pizazz.
The winners come from all over the world. The first winner is German child Augustus Gloop, played with cheerful hungriness by Xavier. His mum Mrs Gloop, lovingly played by Xenia, indulges her son in whatever he wishes. The ensembleâs German costumes added authenticity to the introduction of this initial lucky winner, with the song, More of Him to Love.
Veruca Salt, played by Caitlin is another winner from Russia. Alongside her father Mr Salt, played with a desperate-to-please-his-daughter stress by Nico, we see Verucaâs spoilt personality clearly with Caitlinâs performance of Verucaâs sharp demands, especially with the song When Veruca Says. Iâm sure, not only me but many parents in the audience were cringing at her âI want!!â statements and feeling sorry for Verucaâs father. This wouldnât be the first time that the audience would begin to appreciate our own wonderful children, as we meet the next 2 subsequent child winners and their outrageous personalities.
Pop diva wannabe American child Violet Beauregard, introduced with the song The Queen of Pop, is played by Poppy. She is the next winner and her father, the wealthy Mr Beauregard, played by Luka, panders to his spoilt daughter. Poppy held the stage as her character would, with her spoilt demands and her impressive dance moves.
The next winner, American Mike Teavee, played perfectly with the coolness of a teenager addicted to screens by Hilary, shook off all of Mrs Teaveeâs attempts at affection with derisive looks and a swipe of the hand. I almost felt sorry for Mrs Teavee, played by Riley. Rileyâs song That Little Man of Mine added to this feeling, although we do see hints of how Mrs Teavee has other addictions and how perhaps being addicted to something could run in the family.
After being blown away by the visual elements of this first act so far, and the dancing and energy of the spoilt children and pandering parents, it was an absolute contrast and joy to watch Charlie quietly unwrap a Wonka bar and be the final winner as she discovers the golden ticket. The audience was invested as we cheered Charlieâs discovery. I know I was beaming as Grace sang, âIâve Got a Golden Ticketâ. What a wonderful turn of the story to see Charlie run home and announce this exciting news to her family. It is here that Grandpa Joe gets the motivation to step out of bed (after 40 or so years!). Christian had the audience laughing as his wobbly knees slowly begin to work and he dances with Charlie and Mrs Bucket in celebration, even kicking his leg into the air â followed by him grasping his back!
The cast built up so much excitement and towards the end of the first act, there was genuine wonder for me as to how OFG was going to present the second act. I was looking forward to seeing inside Willy Wonkaâs chocolate factory, so much so that during the intermission I went out and bought a chocolate bar in anticipation! (Spoiler â it wasnât a Wonka Bar, it was a Picnic, but I assumed it was because all Wonka bars had sold out).
The second act of Charlie and the Chocolate Factory didnât slow down. It was filled with electric energy, stacks of humour and sometimes a little bit of kid-friendly horror as things begin to move forward and some elimination of candidates occur. I donât want to say what happened in the second act. I will say that there was not one moment, which didnât capture my attention. The dance sequences were phenomenal, with the cast moving in time together and showcasing their skills as a team. The three talented divas, Arrabella, Monah and Emma demonstrated their skills throughout the musical. Well done to choreographers Lauren T and Chelsea M for putting this together, to be so visually beautiful.
All the costumes, by co-producer Roxy M, were eye catching and clever in their design. As each winner was introduced, with the exception of Charlie, the ensemble appeared in complementary costumes that added to the characterâs presence. Two standout costumes were Violet Beauregardâs suit after she snatched the three-course meal gum and popped it in her mouth against Willy Wonkaâs wishes. I loved how Poppy cartwheeled across the stage in her purple puffed suit as though she was a rolling blueberry! The Oompa Loompaâs outfits were perfect, and the duo colour and stripes somehow made them look small.
The ever changing and colourful digital screens behind and either side of the stage, as well as the 3D print of the props, communicated to the audience exactly where the current scene was set. It was an impressive achievement by Dale D as every visual had so much to look at. The scene leading to Willy Wonkaâs factory made me wonder what was inside there.
An integral part of a musical is the band and backing vocals. Oxford Falls Grammar had 22 extremely talented musicians and singers who carried the accompaniment and added sound effects throughout the whole performance. Situated at the base of the stage, the music was clear and beautifully executed, well done to all. Congratulations to Jimmy H, not only the conductor but also the co-producer and musical director of Charlie and the Chocolate Factory. He has succeeded in creating a dynamic and rich heartfelt musical that appeals to people of all ages.
There is wonderment, a little touch of magic, many belly laughs and of course, a world of pure imagination in Oxford Falls Grammarâs production of Roald Dahlâs Charlie and the Chocolate Factory. It was difficult to believe that this was âonlyâ a high school performance, as it reminded me of plays and musicals that I have reviewed, and given five stars to, in theatres around Sydney in the past. Given the remarkable effort that resulted in just three evening performances, I suggest considering a reprise at the end of the year. This could be advertised more widely and opened to the general public for ticket sales. I believe many people would be eager to attend and would greatly appreciate the incredible talent this school is contributing to the Northern Beaches community.
Bravo OFG, Bravo!
Roald Dahlâs Charlie and the Chocolate Factory Approximately 3 hours, with a 20 minute intermission C3 Auditorium, Dreadnought Road, Oxford Falls 23 April 2026 â 25 April 2026
