Strathmore Theatrical Arts Group (STAG) has opened their third season for 2025 with a rambunctious jaunt through Sherwood Forest and Nottingham Castle.
If you thought you knew the story of Robin Hood and his Merry Men, think again (and think âmore merryâ, and âless menâ…).
âMarian, or the True Tale of Robin Hoodâ details the ârealâ story of Robin Hood, where all is not as we thought: Robin Hood is actually Maid Marian in disguise, The Merry Men are by and large made up of women pretending to be men, and love runs (very!) rampant in all its glorious forms across Nottingham Castle and Sherwood Forest.
Director Brian Edmond has drawn together an utterly fabulous cast, who all bring their individual and diverse characters to life in hilarious fashion. Each actor gave strong and nuanced performances across the board. The sometimes witty and sometimes crass humour kept the audience smiling and laughing throughout the entire show.
âMarianâ is a smorgasbord of entertainment: wall-to-wall jokes, strong and quirky characters, an abundance of action and fight scenes, and love in all its glory (be that queer love, straight love, lost love, self-love, and of course plenty of sex).
The play has a strong (and overtly obvious) theme of sexuality and gender identity, very cleverly approached through humour. Using such a well-known story as Robin Hood to tackle these important topics is a testament to the playâs writer, Adam Szymkowicz. It really is a genius way to address issues and ideas around gender and sexuality in a way that can easily appeal to a wide audience.
STAG has really done a fabulous job bringing âMarianâ to life, with a simple but effective set and lighting, fabulous costumes, and oodles of (very fun to watch) fight choreography.
If you want an entertaining night out a good laugh, definitely go and see âMarianâ!
âMarian or the True Tale of Robin Hoodâ is on for a limited season at STAG from Thursday 21 August to Saturday 30 August 2025. With some shows already sold out, make sure to book in quickly to not miss out!
Keep an eye out for the fourth and final season for 2025 from STAG, âThe Beaty Queen of Leenaneâ, directed by Matthew Freeman, with performances running from the 13th to the 22nd of November 2025.
The charming production of âA Place in the Sultanâs Kitchenâ (or âHow to Make the Perfect One-Pot Chicken Curryâ) has made its way to its mainstage premier at the Illawarra Performing Arts Centre.
At the core of this production, is the theme of self-discovery and belonging. Joshua Hinton, with his brother Dominic at the technical helm, tell stories of their grandparentsâ formative experiences throughout not just their family history, but major historical events as well. Josh interweaves monologues and recordings to tell decades of stories, all the while cooking his grandmotherâs one-pot chicken curry.
The technical elements of this production and the use of the cooking utensils and pots as props to tell stories was incredibly well thought out. Dominicâs sporadic interjections and his use of physical theatre at key moments really heightened the storytelling, and moments of humour that displayed their sibling relationship. I absolutely adored the imagery and the use of the world map throughout the show. Using spices as they are and as tools to showcase different people within the stories being told was a genius move. The mix of lighting and sounds with spices as fires and bowls as buses was next level. It can be really difficult to keep an audience engaged for an hour or so when itâs just one person on stage, but with all the technical elements like the use of the audio, video and photos were really well utilised that it didnât feel like a one man show.
It was really cool to see a whole meal be cooked on stage whilst being invited into a familyâs history. It was an intimate experience pieced together with a grandmotherâs love for her grandchildren and an equally beautiful reciprocation of the adoration and respect of a grandchild for their grandparents. I love the idea of breathing new life into old stories, as well as keeping a loved oneâs legacy alive even after death. Hinton used a really powerful analogy, likening grief to that of the process of cooking the curry, and I just found that so beautifully poignant.
Finally, sharing the spotlight to close out the show with an original song, the Hinton brothers gave their all in a soft goodbye and see you later to their Pop. Thank you for sharing that beautiful tribute with us and for following it up with some delicious curry! Dinner and a show? Sign me up!
âA Place in the Sultanâs Kitchenâ is in Wollongong for a few more shows, finishing on Saturday August 23 at 7:30pm, before moving on to the Shoalhaven Entertainment Centre and Brisbane Festival. Grab a ticket at the Merrigong website or stay tuned for its next stops!
Liminal Productionâs âLost and Findingâ is one of those unique theatre experiences which peaked a sense of curiosity, right from the beginning. Unlike other plays, where patrons are seated in the theatre and watch a story, this is immersive storytelling which began from the moment we walked into the Flight Path Theatre in Marrickville. Producer Aaron Cornelius greeted us at the door with a raffle ticket â for what, we did not know, but it did create a sense of excitement! Billed as a fantasy-comedy interactive show, I was aware that audience participation was most likely going to happen. However, for people who arenât comfortable with this, there are marked seats inside the theatre for those who donât mind being a part of the show.
When we entered the theatre, the lighting was dim. Shadows created crevices of the unknown. There was an atmosphere that felt mysterious and ominous. (Lighting design by Caity Cowan) What was this place? Where were we? At first glance, it looked like a garage filled with vintage junk; a hoarderâs room stacked floor to ceiling with things like boxes, sheets, tee shirts, guitars, paintings, milk crates, monitors, sport equipment and suitcases. As the play progressed, it was clear that every placement of this seemingly haphazardly strewn âstuffâ was designed and placed with infinite care from the imagination of production designers Hannah Taylor and Paris Bell. The visual effects of the multi-level set was impressive. As a room infused with lost memories, my eyes kept exploring the set throughout the play and I wondered, who were the people whose memories these belonged to? The set also reminded me of The Junk Lady from one of my favourite films, âLabyrinthâ.
We follow a confused Cassie, portrayed by Emma Throssell, where she finds herself unexpectedly in this strange space, looking for something, of which she cannot remember. She has literally fallen into a world where she encounters many interesting characters who help and hinder a journey towards discovering what it is that she has lost. Emmaâs portrayal of Cassie delivered an outstanding performance that captured the emotional depth and authenticity of the character and I felt myself cheering her on in her quest. In one scene, Cassie had to perform a stand-up routine for an audition. Emma wrote this routine for her character. I felt the awkwardness and nervousness of Cassie as she delivered it, at the same time finding it very funny.
The amazing puppets and puppeteering were a delight to watch! Puppet maker/ director George Wohlfiel created original characters, ones who I could not help but look into their eyes – up at Lizard Wizard, down at the cheeky lizard and particularly at the pigeons Carl and Steve, whose eyes popped out and bobbed as they spoke. Carl had a big personality â a ciggy craving pigeon that made me laugh. His job was akin to a Service NSW customer service worker who was overworked, underpaid and frazzled. There was one puppet called Poppet, with its big eyes and gentle personality who I wanted to take home. Another character, The Dread Pirate Susan, spoke eloquently in poetry, and her name reminded me of The Dread Pirate Roberts from another of my favourite films, âThe Princess Brideâ. I loved the respectful nod to the two films Iâd associated certain characters from, while still maintaining originality.
The puppeteers were polished in their craft and worked together to create convincing movements of their characters for a realistic stage presence. Puppeteers Ashley Chandler, Natanyah Forbes, Jade Fuda, Michael Ho and Renae Valastro did an outstanding job, all the while weaving their own bodies onto the stage with nuance and expression.
Co-sound designers Bryan Ruiz and Ellie Wilson from âLost and Findingâ created a continuous audio environment that added a strong dimension to the production. The dramatic soundscape and subtle sound effects, along with the visuals, encompassed my senses. One scene, which involved a villain speaking, was done with great depth and menace.
Director Emma Van Veen also wrote the play âLost and Findingâ. Her script captured my curiosity from the start and allowed my imagination to stretch to places within the set and far away. There were several sub-plots in the storytelling which were intertwined and were cleverly penned. âLost and Findingâ reminds us of the complexity of our own minds and the limitlessness of our imaginations. This tale of self-discovery, of finding the unexpected was a beautifully woven theatre production which I highly recommend to everyone. Go see it!
I saw the world premiere performance of âLost and Findingâ at the Flight Path Theatre on Friday 15 August 2025. Flight Path Theatre: 9b 142 Addison Road, Marrickville Run: 14-23 August 2025 Time: 100 minutes, no interval Tickets: www.flightpaththeatre.org/whats-on/lost-amp-findings
Sydney has always feared the shark; every Sydneysiderâs felt some trepidation when venturing into the waters that surround our beautiful city. But as it turns out, sharks come in human form too. Shark Arm Case, a joint collaboration between Deadhouse Productions and Museums of History NSW, shows just how dangerous and destructive those particular creatures can be.
On 17th April 1935, a fisherman caught a small shark off Coogee Beach. As he reeled in his catch, a four metre tiger shark swallowed the smaller fish. The man then hooked the tiger shark quickly taking it to the Coogee Aquarium Baths, a very popular attraction at the time, where he knew the tiger shark would bring in crowds during the coming Anzac Day weekend. The crowds did indeed arrive to peer at the trapped shark. Horror ensued when the animal suddenly vomited up a human arm. Unsurprisingly, initial impressions were the owner of the arm had been an unfortunate victim of a shark attack given that Sydney had recently experienced a spate of shark attacks. Medical examination, however, showed the arm had not been bitten off; instead it appeared to have been severed by a knife or other sharp instrument. Was the armâs owner murdered and if so, whodunnit?
Sydneyâs Justice & Police Museum near Circular Quay is the perfect setting for an immersive theatre performance depicting the nefarious activities of the cityâs 1930s criminal underworld. After police realised they were dealing with a victim of crime rather than a shark attack, the press soon picked up the story. The arm featured a tattoo of two boxers in battle; it was this tattoo and the coverage of the story in the cityâs newspapers that drew the attention of Edwin Smith. His brother, Jim, a small-time crook turned police informant (known as a âfizgigâ), had been missing for weeks. Coincidentally, Jim also had a distinctive tattoo on his forearm of two boxers. Had Jim Smith been murdered? This is the pressing question the performance opens with. The play starts with Jimâs wife Gladys (Madison Chippendale), and another character Mrs M (Karli Evans), in Gladysâ living room. The audience surrounds the two, witnessing Gladysâ harrowing realisation that the victim may well be her husband. In the next scene, weâre introduced to Reginald Holmes (Barret Griffin) and his wife, Inie (Roz Hicks) in their north shore home. Holmes runs a successful boat-building business but is also involved in illegal activity using his speedboats to smuggle drugs and other contraband into Sydney. We hear a heated conversation between Holmes and Patrick Brady, another small-time crook and associate of Holmes. Holmesâ fear of Brady is palpable. What exactly have Brady and Holmes been up to?
Later we move into a larger room where our guide and the Aquarium managerâs wife in a combined role (played by actor Kyla Ward, who is also the showâs writer) fills in the backstory. A screen projection shows the moment the tiger shark purged itself of the tattooed arm – a suitably gory moment in the riveting production that elicited more than a few groans of disgust. Police investigators Frank Mathews and Allmond now take on the case. Our personable guide informs us that Mathews does not like losing a case; he will do whatever it takes to win. But maybe this time Mathews will meet his match, coming up against a lack of convincing evidence and a stubbornly impenetrable criminal underbelly.
The performers are truly the compelling force of this clever production. Driven by powerful dialogue, the play takes us into a fascinating cold case that to this day remains unsolved. Mark Stokes as the feisty Mathews and Sam as his calm offsider, Allmond, are the backbone of the play. A yin and yang duo, both detectives try to solve a case that lacks a crucial piece of evidence: the victimâs body. Kyla Lee Ward as the guide is particularly entertaining. Her commentary provides humour and levity throughout the piece. Ward is also to be commended for her writing. Roz Hicks gives an emotional performance as the long-suffering Mrs Holmes. In fact, it is the women in this story who suffer the most, standing by men who repeatedly let them down through the poor life choices they make. Barret Griffin as Reginald Holmes captures the businessmanâs cravenness; he later adeptly transforms into the commanding Clive Evatt KC, who represents Brady at the coronerâs inquest. Mention also goes to Steve Maresca as Jim Smith and Karli Evans as Grace Brady. Kyle Stephens’ lighting design and props managed by Lew McDonnell added just the right atmosphere and mood to each scene.
Deadhouse Productions are certainly keeping Sydneyâs criminal history alive through their immersive theatre productions. Judging by the full audience on the night I attended, there is truly an insatiable appetite for true crime stories such as the Shark Arm Case. So, if you fancy yourself a detective and youâre hungry for some unsolved crime, get along to the Justice & Police Museum for a fascinating night out.
