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Iphigenia in Splott: Theatre Review

14 March 2025 Steve Willems

Iphigenia in Splott Rating

★★★★★

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The Old Fitz is a small and intimate theatre in the basement of the charming Old Fitzroy Hotel in Woolloomooloo, providing the perfect setting for this powerful, modern Greek tragedy. Gary Owen’s one-woman monologue was first performed in 2015 and has gone on to become a classic staple of international theatre that’s remained just as important and relevant today as it was ten years ago.

Effie is a tough, spirited and crass young woman from Cardiff, Wales, who is proud of her rebellious nature and life of clubbing, drinking, and sleeping around. When society looks on women like Effie, dressed in their tracksuit pants and sneakers, smoking and drinking and swearing, they can be quick to judge. And this initial judgement of others and its impact sits at the very heart of the play.

Meg Clarke brought Effie to life with a heart-felt and powerful performance. She’s a natural storyteller, never faltering or losing her accent. There was just one moment, near the end, where the emotions seemed to overpower her and she needed a discreet moment to get composed. More power to her, I say, for being that deeply invested in the character.

At first, I wondered where the monologue was going and why this play is considered a ‘must see.’ Why should I care about Effie’s humorous hijinks, drinking prowess, and day to day life. Obviously, this was all establishing her character and circumstances.

As the narrative developed, and the stakes were raised, it was captivating. Looking around the audience, everyone was sitting forward in their seats, absolutely engrossed in the performance, eager to find out what was going to happen next. There were real moments of shock, tension, humour, beauty, and tragedy that we can all relate to in some way or another, leading to a powerful and tragic climax that will have some people reconsidering how they view others in society. About the many hidden sacrifices that go unacknowledged. Unappreciated. About how we are all human. And I guess that’s what makes this story so captivating. It’s so REAL.

Lucy Clements’ direction was fantastic, making the most of the sparse set and limited space. The timing, the pacing, the humour and tragedy, were all perfectly crafted to keep the audience deeply enthralled. There were no distractions from the story. The entire production team, working invisibly behind the scenes to support Meg’s performance, should be commended.

Everything from the costume, sets, lighting and sound helped build the world that Effie travelled through; from the nightclubs to hospitals to suburban streets. After Effie delivered her final, powerful monologue I felt drained and empty. There was a moment of real reflection that was hard to snap out of. And then, as the lights came up to reveal Meg Clarke bowing to the audience, they couldn’t help but give her a standing ovation. And I think that speaks for itself.

Iphigenia in Splott is currently playing at the Old Fitz Theatre in Woolloomooloo, Sydney until March 22.

To book tickets to Iphigenia in Splott, please visit https://www.oldfitztheatre.com.au/iphigenia-in-splott.

Photographer: Phil Erbacher

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Steve Willems

Review: Melbourne Writers Theatre presents Lyceum Highway and Metropolis Monologues

13 March 202512 March 2025 Megan Davis

Lyceum Highway and Metropolis Monologues Rating

★★★★★

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If you’re searching for an evening of new theatre that allows you to champion emerging artists and writers while enjoying captivating performances, look no further than the Melbourne Writers Theatre’s presentation of Lyceum Highway alongside the Metropolis Monologues. Staged at the The Stables @ Meat Market, this combined offering of a one-act play and monologue showcase runs for approximately two hours and thirty minutes, allowing audiences to see fresh works in a cosy and intimate setting.

Lyceum Highway is written by K V Adams, directed by Brooke Fairley, and performed by Laura Iris Hill (as Maggie) and Kevin Dee (as G). It’s a compelling one-hour piece delving into themes of redemption, recovery, forgiveness, and personal growth. The story unfolds on a road trip, with Maggie picking up G, a mysterious hitchhiker who may or may not be who he claims to be. Hill’s portrayal of Maggie is simultaneously fragile and bold, showing a character who’s both wounded and healing, and the emotional journey she takes us on is genuinely gripping.

Kevin Dee’s G provides a contrasting energy; his calm insight anchors Maggie as she confronts her past, and their rapport is palpable, carrying the audience through moments of tension, humour, and heartfelt connection. The clever use of projections designed by Minty Hunter and sound design by John Jenkin works seamlessly to enhance the road-trip vibe, transporting viewers to shifting landscapes and emotional states. The production team collaborated to create a cohesive and visually engaging show. Producer Clare Mendes should be commended for bringing this new work to the stage.

On the evening I attended, five monologues were featured as part of the Metropolis Monologues: The Night Market by Gary Helmore performed by Mark Opitz, The Most Alive Part of Me by Peter Farrar performed by Amir Rahimzadeh, Off the Grid by Marie Collie performed by Katrina Mathers, Snakes and Ladders by Donna De Palma performed by Janine McGrath, and Till Death Do Us Part by Louise Hopewell performed by Nick Steain.

Each piece explores how a place, real or metaphorical, shapes personal experiences. Whether it’s a literal market or an abstract emotional space, these short pieces emphasise the power of location in uncovering what makes us vulnerable, determined, or reflective. Seeing different writers and actors unite to bring these stories to life highlights how monologues can offer an intimate theatrical experience.

A Triumph for Emerging Voices: Melbourne Writers Theatre has curated an event with energy, creativity, and promise. From the reflective depths of Lyceum Highway to the variety of voices in the Metropolis Monologues, this is a perfect example of how we, as theatre lovers, can support new work and help local writers and performers refine their craft. The Meat Market’s small and intimate setting of the The Stables @ Meat Market draws the audience closer to the performers, allowing for a deeper emotional connection.

If you’re interested in seeing new Australian theatre develop before your eyes—and enjoying a fulfilling evening of storytelling—this production is well worth your time. The passionate performances, skilful direction, and inventive writing offer a memorable night. Above all, Lyceum Highway and Metropolis Monologues are a powerful reminder of the creative talent blossoming in our community and the importance of supporting artists.

To book tickets to Lyceum Highway and Metropolis Monologues, please visit https://meatmarket.org.au/event/lyceum-highway-metropolis-monologues/2025-03-16/.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Megan Davis

Sylvia: Presented By Hunters Hill Theatre

11 March 2025 Isobel Knight

Sylvia Rating

★★★★★

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The performances of all four actors in the cast are a real strength of Hunters Hill Theatre’s really enjoyable production of A.R. Gurney’s ‘Sylvia’, with each of them finding their moments of comedy and genuine humanity. The premise of the show is an odd one, but the opening night audience was won over by the warmth and skill of the cast, and a production that invites you to look in the apartment window to the funny and very human way people navigate changing and aging.

Justin Corcoran and Brooke Davidson play Greg and Kate, whose marriage is the central site of both comedy and conflict throughout the show. Both of them bring a gentleness to their characters; Greg remains a sympathetic figure despite the oddities in his choices throughout the show, and Davidson makes Brooke both warm and wry as well as exasperated.

Margareta Moir has perhaps the biggest challenge of the show, playing the titular (canine) character, but she does extremely well at the physical comedy and energetic contribution to the ensemble that her role requires. Richard Littlehales plays three characters across the show and embodies each with their own physicality that both drew some of the show’s biggest laughs and allows the core trio to shine. Leslie, the therapist who appears in the second act, is a real highlight, and Littlehales brings both life and humour to the arc of Tom, Greg’s dog park friend.

Wayne Chee’s set design is smart and sleek; a mulit-part sofa tells the arc of the story on its own, and the way the set interacts with the particular theatre at Club Ryde allows the audience to feel as if we’re in the apartment with the characters. The musical choices in some scene transitions were a lovely addition.

This is Moja Band’s first production with Hunters Hill Theatre, and it’s skilfully done; the play moves at a gentle clip, and there is an intimacy to the apartment world where most of the play takes place. The humanity in how embarrassing we all become when we’re in a period of flux is a thread that Band’s direction clearly finds; each character is funny and sympathetic.

In line with this, the costuming and prop work is really well done, everything feels real and recognisable, which is part of what allows the comic device of Sylvia being played by a grown human woman to work so well. The very normal world we see is interrupted by an enthusiastic whirlwind of a character, and the journey through what that means for a marriage and home is really fun, sweet and off-kilter.

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

Photographer: Amin Heidari

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Isobel Knight

A Journey to Little Happiness: A New Musical

11 March 2025 Kenneth Stephens

A Journey To Little Happiness Rating

★★★★★

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The title says it all. This show from Taiwan is a lot of fun. The five cast members bring this new show to life on stage. It was fitting on International Women’s Day to see this cast of five women show the acting prowess coming out of Taiwan.

As we enter the venue, we are greeted by the cast in the audience space, making rhythmic sounds and movement. The house lights go out, and the cast moves straight onto the stage and into their first song. And from this first song, the audience is captivated. We know we are in for a good night of musical theatre.

The story is simple yet beautiful. It revolves around an email written 10 years previously. This then causes the five friends to have a reunion. Not a traditional reunion, but one at their old childhood hideout. This causes a range of childhood memories as they embark on playing some of their favourite games. Long-forgotten memories are released whilst playing the games. The audience participates by spinning a chocolate wheel to pick games. We have hopscotch, skip rope, and kick the can. As they play these games, it stirs their memories of gentler times.

And how, now, 10 years later, life has changed. It is more complex. The joys of childhood have faded. But the games do, in fact, strengthen their friendships, and they vow to meet again. It shows how important our early friendships are in our lives. We need to cherish these memories and friendships as they shape us for adulthood.

The choreography and musical pieces significantly enhance the narrative. The music includes elements of traditional Taiwanese musical instruments and rhythms. Chien-Lin Chen wrote the music, and Cindy Chen choreographed. The costumes are based on what children would have worn, with adult elements.

The venue is a little on the echoey side for a musical, but the audio team and cast coped well, and the mixing was clean and crisp. The lighting was a little on the turn on lights to see, until the end when colour was introduced. This colour element helps reinforce the strengthening of their friendships and a brighter future.

This cast works well as an ensemble. The natural acting style makes it very believable. The cast consists of Hsaio Lu, Zhao Zhao, Cynthia Yang, A Hsin, and Pei Chi. The cast is directed by Qiu-Yi-Bao Lai. He has a great sense of the story being told. This is a worthwhile show to see, so keep an eye open for it.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Kenneth Stephens

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