I’m not a sports fan, and I certainly don’t follow any of the Australian football codes, so I wasn’t sure if W, the new play by Madelaine Nunn, would be for me. Starting with the background noise of a packed stadium, with all the chanting, drums, and noise, we’re introduced to four key players of an AFLW football team and their coach as a talented new player, Casey (Celeste Cortes-Davis) joins the ranks. It’s the start of the season, and each player is individually set up to what their story is going to be. The returning new mum, the talented athlete playing in her brother’s shadow, the veteran captain along with her partner planning a baby.
The story tracks the women through the season as they aim to make the finals. As the drama and conflict begin the escalate, characters are faced with moral dilemmas, sacrifice, and professional expectations. Director Rachel Chant did a fantastic job creating an immersive and enthralling performance, with engaging transitions between scenes mixing mime with dance to bring the game alive. The whole technical team did a great job, and the locker-room set was fully immersive.
While some of the early jokes seemed unnaturally crude and didn’t feel right, most of the dialogue was snappy and well balanced. It took a little while for the story to warm up, but when it did, I found myself thoroughly engaged. The characters were deep and human, led by the veteran captain, Rosie (Shannon Ryan) whose personal struggles between desire, injury, and legacy, threaten to derail the team and their season.
Cortes-Davis as Casey, was also great as the talented newcomer who wants to prove herself and become a star like Rosie, but doesn’t yet understand how to navigate the media in professional sport. To be fair, the cast were all really good and gave it their all. For me the highlight was Danielle Cormack as the head coach, Sue. She was funny, charming, and ferocious. Sometimes all at once. I felt like I had to lift my game and play better. I’m Sorry Sue. I’ll follow the system.
It may have been a slow start as I learned about ach character’s journey, by the end of the season I was thoroughly entertained. W a funny and dramatic story about the struggles of professional sport and how every choice has a consequence. A play that can be enjoyed by everyone, not just fans of the game.
W is playing At the Old Fitz theatre in Darlinghurst until the 14th of June.
Sheltering was enthusiastically introduced by Artistic Director and Co-CEO Frances Rings, alongside Director of Community Relations Kirk Page, whom I was already a fan of from Dear Son at Belvoir earlier this year. It was a warm, personal welcome that set the tone perfectly for what followed.
Sheltering is a triple bill that beats with the heart of Bangarra’s community spirit, truth-telling and connection to culture. All three works were developed through Bangarra’s Dance Clan program, founded in 1998, to nurture community-focused, choreographic storytelling, empowering dancers and creators to dream up and express in their own language, under expert mentorship. This season marks Bangarra’s first national tour since being awarded the prestigious Golden Lion for Lifetime Achievement in Dance by the Biennale Danza 2026. That context matters. This is a company at the peak of its legacy, and also looking boldly forward.
“Keeping Grounded”, choreographed by Indjalandji-Dhidhanu and Alyawarre person Glory Tuohy-Daniell, is a fascinating piece. The dancers move between the net, the suspension and shakiness of which requires their deep attention, care and uses their energy. In contrast, they move fluidly in tandem with one another when they connect with the ground and their roots.Composer Brendon Boney’s score is a beautiful element throughout, and Karen Norris’ lighting sculpts the space, allowing the dancers to meet each shift in the music with precision and presence. As Tuohy-Daniell writes, this work is “an invitation to notice. To consider how small, almost forgotten actions can create an effect through the body and mind. A step barefoot. A moment of stillness. A return.”
“Brown Boys”, co-directed by Daniel Mateo and Cass Mortimer Eipper, with Mateo performing, is an exquisite piece of dance poetry presented on screen. In just six minutes, Mateo takes us on a journey through the holistic, physical and spiritual experience of brown men navigating identity, belonging and the perceptions imposed upon them, and the quest to come home to themselves. Composer Leon Rodgers’ soundscape holds the film in something both tender and expansive. It is beautiful, and it is genuinely moving. Mateo puts it simply: “I want to give this film to boys who grew up like me, so they can connect, and through that, the village expands.”
“Sheoak”, choreographed by Frances Rings and originally premiering in 2015, closes the evening. Created in response to the deeply offensive “lifestyle choice” comments made by a former Prime Minister about remote Aboriginal communities, it is a work of reclamation; those words taken back, rebuilt, and transformed. Jacob Nash’s set design and Jennifer Irwin’s costuming are impeccable; the visual world of this piece is as layered as its emotional one. Across its three sections; Place, Body, Spirit… we witness systemic trauma, rupture, and ultimately, renewal. It is a deep, at times dark, emotional ride, with movement and choreography that created many audible gasps and intakes of breath.
Afterwards, we were lucky enough to meet the dancers and hear about each of their origins and their time with Bangarra; a reminder that these are not just extraordinary performers but custodians of living stories.
Bangarra has long held a reputation for Black excellence, magnificent storytelling, and uniquely impressive talent. Sheltering doesn’t just add to that history; it extends it, with one eye firmly on the next generation of First Nations creatives being given the space and mentorship to bring their own stories to the stage.
Get yourself along to see it. These are stories that deserve to be witnessed.
Imagine crossing the rainbow street and walking into Qtopia on the first day of Pride month, only to be greeted by the one and only Kala Gare’s and Kala’s incredibly beautiful, smiling face! Well, I don’t have to imagine, because that’s how this year’s Homo Grown kicked off for me.
Home Grown Australia, are pioneers championing new theatre and musical theatre works in Australia. What started as a backyard pub meeting, now has the backing of MTIA and the Australian Government. Founded by Nick Hedger and Ben Nicholson, Home Grown have nurtured beloved Australian new works such as My Brilliant Career, FANGIRLS and A Trans Woman On The Internet, Crying.
Homo Grown is a Pride-full celebration of queer Aussie new works to be produced, to come and in progress. The queer celebration in the room was electric, not least of all because the multi-talented Kala Gare was guiding the ship.
Kala kicked us off with an original “Hello” that speaks to “Letting freedom flow”, which was a great set up for the night. Kala’s skillful piano along with an incredible voice and sharp, relatable lyrics had us strapped in for “a wild ride, to say the least.”
Next up was Phoebe Rodger with the title song from upcoming “Phoebs, You’re A Lesbian” on June 10th – 12th at QTopia. Described as “a letter to my younger self”, this song was earnest, clever, cute, hilarious and relatable. Much like Phoebe. The second song was from a “yet to come” musical, it took us on a humorous journey of Phoebe’s ideal career discovery through a career’s test.
Cassie Hamilton and Nic Prior then took to the stage for a snippet from Afterglow by Sheanna Parker Russon & Lillian M. Hearne which will be showing at the Belvoir and is described as a “Barbershop rom-com”. Lillian introduced the piece and began to play, while Nic tore us into their deep, tender and sombre beginning. Cassie joined in and the duet echoed the lyrics “With you I fit”. Nic’s tender fragility of emotion is in stark contrast to the power of their voice, while Cassie’s sombre moments are only magnified by the reality of her powerhouse vocals. Cassie took to a solo called “Normal Michael” in which we got more of that voice, and what I can only describe as four seasons in one face, as we join the emotional journey of the character Cassie is embodying.
Matt Hawke then took us into their song from upcoming “Beautiful Lies” on June 11th-14th at the Substation Qtopia. Described as one of the lies unpacked in therapy, we deep dive into Matt’s 20 year old identity exploration wrapped in self-deprecating humour. None of us saw the sharp turn from this jaunty piano-pleaser into an acoustic guitar heartwrenching homage to Matt’s deceased dog. It left the majority of the room in tears, and awe at its beauty.
Robbie Alexander and Alex Gonzales had to wipe away tears and reset for their performance from “Twenty-Something”. Alex played the character, Charlie’s Mum, deadpanning that “I’m wearing a cardigan so you know I’m a mum.” and meeting a lot of laughter. Alex performed “Long Story Short” with power, emotion and a lot of talent. Robbie performed “Delightfully Gay”, showing us the tug of war between Angel and devil on the shoulder and reinforcing the lyrics “There’s no such thing as ‘a little bit much’!”
Lincoln Elliot joined forces with Kala, Natalie Abbott, Gracie Rowland, Nead Cristaudo, Alex Gonzales, and friends for a snippet from the “yet to be announced” emo-rock heist. The performance of “Creativity Is An Island showcased exceptional musicianship and a palpable musical love and collaboration between the group.
Kurt Kansley and Oli Lidert were missing in action, enjoying their time in Moulin Rouge, but Katie Staddon did them proud and then some with “More Than Words On A Page”. Katie’s vocal range is beyond comprehension, the melodies sublime. The swift shift from deep soul to angelic was out of this world.
Meg Rob took us on a solemn and sincere ride with “Step Into Infinity”, showcasing an ability to embody the characteristics of an introvert grappling with personal trauma, while knocking our socks of with some big belts. Those who saw Meg in Jagged Little Pill will be familiar with this ability to take an audience on a wonderful and surprising ride. Catch Meg’s show “Make It Queer” 25th-26th June at Loading Dock, Qtopia.
We finished with the cast and creatives from Nails 25th-27th June at The Eternity Playhouse. Created by Sophie Davis and Laura McDonald, and composer Harry Collins. This netball based comedic musical has a lot of balls (see what I did there?). Nead Cristaudo had us captivated as the coach, mixing brilliant comedic timing with powerful vocals.
Then the large ensemble cast and creatives from Nails finished us off on a high with Natalie’s gorgeous voice and some epic harmonies being the highlights of this final piece. It was an incredible finish to a night of unprecedented talents and not-to-be-missed new works! Make sure you catch these and as many Pridefest shows as you can this month. More than ever, we need to join together and support each other. Happy Pride!
Melbourne Shakespeare Company’s production of Eurydice at fortyfivedownstairs is a remarkable theatrical achievement, an ambitious, visually poetic and emotionally resonant work that lingers long after the final moments on stage. Written by acclaimed American playwright Sarah Ruhl, whose celebrated works include In the Next Room (or The Vibrator Play) and Stage Kiss, Eurydice offers a contemporary reimagining of the ancient Greek myth of Orpheus and Eurydice. In the hands of director Gary Abrahams, this modern classic becomes a deeply moving exploration of love, loss, memory and the spaces between worlds.
Ruhl’s script cleverly balances heartbreak with humour, weaving together lyrical language, surreal imagery and witty commentary on the challenges of translating classical myths for contemporary audiences. This production embraces those contrasts wholeheartedly. The result is a theatrical experience that feels both intellectually stimulating and emotionally accessible, inviting audiences into a world where the ordinary and the extraordinary coexist.
Director Gary Abrahams once again demonstrates why he is one of Australia’s most inventive theatre-makers. His vision for Eurydice is bold and imaginative, creating a production that seamlessly blends music, visual storytelling and dreamlike theatricality. Every creative choice feels purposeful, contributing to a rich sensory landscape that captures the mythic scope of the story while remaining grounded in its deeply human emotional core. Abrahams crafts a world that is at once strange and familiar, beautiful and heartbreaking.
The cast delivers exceptional performances across the board, with each performer bringing a distinct energy and presence to the stage. Special mention must go to Aisha Aidara in the titular role. Aidara’s portrayal of Eurydice is fearless and deeply affecting. Through both voice and movement, she captures the character’s vulnerability, intelligence and passion with extraordinary nuance. Her performance is filled with emotional honesty, allowing audiences to connect profoundly with Eurydice’s journey between love and loss.
Equally captivating is Devon Braithwaite as the Lord of the Underworld. Braithwaite commands the stage with magnetic charisma, bringing humour, menace and unpredictability to the role. His performance provides many of the production’s most memorable moments, skillfully balancing the play’s darker themes with its delightfully absurd wit.
What makes this production particularly successful is its ability to touch the soul without sacrificing any reverence for the classical myth. It trusts its audience to engage with its complexities while offering moments of genuine wonder and beauty. The combination of evocative design, haunting music and exceptional performances creates an atmosphere that feels almost dreamlike, as though the audience has stepped into a living poem.
Melbourne Shakespeare Company has delivered a production that honours the spirit of Orpheus and Eurydice’s extraordinary love story while carving out its own unique voice. Eurydice is a masterclass in contemporary theatre-making. This production is thought-provoking, visually stunning and emotionally powerful. It’s little wonder that this season is likely to sell out. This is theatre at its most imaginative and affecting, and it is absolutely not to be missed.
