The Dictionary of Lost Words

The Dictionary of Lost Words

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The curtain has officially opened for the State Theatre Company South Australia and Sydney Theatre Company’s ‘The Dictionary of Lost Words’ at Wollongong’s Illawarra Performing Arts Centre. Presented by Merrigong Theatre Company, Verity Laughton’s adaptation of the New York Times bestselling novel by Pip Williams opened its two-week run with a spectacular masterclass in storytelling.

From the moment you walk into the theatre, the set is captivating and immediately draws you into the Scriptorium, which is arguably a character in itself. As a book lover myself, I was absolutely taken with the hundreds of shelves and the stacks of old books and papers adorning them. You can practically smell the old books from your seat.

The use of live effects through lighting and the projector really changes the way the stage can be used and perceived. Having cast members seamlessly changing the location and years, as well as the symbolism of moving water and dirt being poured over the projection was mesmerising and effective when it came to some of the more emotional moments. The split-level stage and hidden doors made the space so much bigger, assisting in transporting viewers to Esme’s top secret hiding spots and locations that had the most impact on her growth as a woman and a lover of words.

I adored the way each cast member brought their characters to life, with nuances like delectable accents that were so good I couldn’t help but grin every time Brian Meegan’s Sir James Murray rolled his R’s in a delightful Scottish brogue. Transformative acting is a personal favourite, and each character had such life breathed into them with vivacity and evolved as the years passed in an authentic and effortless manner. All cast members are commended on their commitment to everything they touched. The hilarity of the Flower shop vendor who uttered not a single word and yet, managed to convey everything with a single glance absolutely stole those scenes.

Shannen Alyce Quan and Angela Nica Sullen who play Esme Nicoll and Tilda Taylor, respectively, were absolutely electric. Quan’s ability to play a precocious four-year-old who, through the years turned into a world-weary, borderline cynical woman was nothing short of incredible. Not only did they, as Esme, rescue those lost words over time, but they preserved a beautiful piece of historical fiction and gifted a contagious delight for knowledge and eternity to the audience. Sullen’s spirit as Tilda is a commanding presence throughout the performance. Her vibrancy and commitment to the suffrage movement, as well as Sullen’s portrayal of her other characters added such depth to the show.

The decision to recount Esme’s most treasured secret with absolutely no dialogue was brilliant. Choosing instead to use music and roving characters with spotlights to signal each part of her story was incredibly moving and I could not look away. You could feel the emotion in the room and each actor held themselves with such raw feeling that was completely inescapable. A massive round of applause to the cast, and the entire team of creatives behind this performance.

Despite the almost three hour run-time, ‘The Dictionary of Lost Words’ is incredibly enriching, and I’d highly recommend it for anyone who loves history, books or a good night out at the theatre. Make sure to grab yourself a ticket before it closes on the 7th of June at the IPAC! Jump on to the Merrigong Theatre website to book now!

To book tickets to The Dictionary of Lost Words, please visit https://merrigong.com.au/shows/the-dictionary-of-lost-words/.

Photographer: Prudence Upton

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The Pirates of Penzance

The Pirates of Penzance

The Pirates of Penzance Rating

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Hayes Theatre Co has made their way to the Wollongong stage at the Illawarra Performing Arts Centre, with a fresh and flamboyant flair to Gilbert and Sullivan’s seminal classic of The Pirates of Penzance (or The Slave of Duty).

Usually, a cast of around 40 actors, this delightful production decided to challenge their performers by asking the five of them to play the entire ensemble. This feat could very easily have become confusing and overwhelming for both the actors and the audience, but this cast made the stage their own and gave it their all to create a fast-paced and dynamic performance with seamless or in Billie Palin’s case, intentionally comedic on-stage quick-changes.

The use of the piano was very well done, becoming a change-room, a monologue-worthy soap box, and an off-stage curtain, all while pouring out beautiful scores. That piano is arguably the sixth and most dynamic cast member. Whilst a few of the cast members played it during the 2-hour performance, it is the dedication and consistency of Trevor Jones that should be commended as he somehow managed to continue playing whilst being carted around and changing costume in the blink of an eye, and have the audience in stitches with his lyric changes and commendable diction and pace during ‘I Am the Very Model’.

It’s a personal favourite when a performance becomes an immersive experience like this one, and I adore it when the theatre staff take the theme in stride as the IPAC has done. From small costume additions to the ushers to a special cocktail for the event, in addition to on-stage seating and audience-actor interactions, The Pirates of Penzance had it all. Some of the audience members really stole the show during their five minutes of fame and it just made for a beautiful and joyful experience.

Amid some technical difficulties, the cast remained cool and level-headed. Aside from one hiccup, where the audience stepped in to maintain morale and keep the energy high, the cast didn’t miss a beat.

The vocals and dynamic accent work of Brittanie Shipway was absolutely breathtaking. Her operatic range and ability to stay in and switch between such polarising opposite characters is just incredible. She brought the “wow” factor times ten, which is especially hard to maintain when you’re onstage for all but a few moments of a show of this length. In the company of a big name like Jay Laga’aia who exudes passion and charisma, and is just such a treat to watch, Shipway made certain that she was not to be forgotten.

Maxwell Simon was everything that Fredric should be. His voice had such power and his portrayal of a naïve but determined to be self-assured boy was utterly hilarious. His physical comedy was just brilliant, capturing the attention of the audience whether he was in the spotlight or not.

The Pirates of Penzance is the perfect show to watch to end the week, so make sure to grab yourself a ticket before they sail away from Wollongong by heading to the Merrigong Theatre Company’s website for the remaining shows this weekend!

To book tickets to The Pirates of Penzance, please visit https://merrigong.com.au/shows/the-pirates-of-penzance/.

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No Love Songs: Poignant And Impactful

No Love Songs

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“No Love Songs” was my first visit to the newly opened Foundry Theatre located inside The Star Casino’s glamorous building. The quaint size and layout of the theatre creates an immersive and intimate experience for the audience and I look forward to spectating many more shows in this fabulous new venue. The acoustics and viewing would be fantastic from any seat in the theatre which makes it, in my opinion, a very inviting theatre. 

The “No Love Songs” musical is based on the book written by Laura Wilde and Johnny McKnight which was inspired by real-life experiences of Kyle Falconer and his partner Laura Wilde. The featured songs are written by the musician Kyle Falconer.

The musical stars the incredible Keegan Joyce and Lucy Maunder and is co-directed by Andrew Panton and Tashi Gore. Music direction is expertly provided by Mark Chamberlain.

“No Love Songs” is a harmonious Yin and Yang balance of grief and joy, sublimely written to strike the audience with the juxtaposition of tears and laughter. The script is superbly written with natural flowing dialogue and a generous sprinkle of witty comedic gags, all of which were delivered impeccably by the stars Lucy Maunder and Keegan Joyce. 

The script delves deeply into themes of depression, loneliness and relationships. It highlights the importance of bringing light to the hardships of parenting and in particular post natal depression. Shedding light on these ‘once unspoken’ topics, yet still not spoken enough about, is vital for urging more conversations, actions and reassurance. 

The writer has truly achieved a very natural realistic depiction of struggling young parents in their personal relationship together and with their child. I’m certain most can relate to the struggles couples face: keeping in combined rhythm, picking up the missed beats for each other and being cautious not to drop the drumsticks altogether into a fathomless pit of no return. 

It was a stellar performance by Lucy Maunder and Keegan Joyce, two immensely talented industry professionals. The acting diversity of both is applaudable and easy to understand their great successes to date and undoubtedly in the future. They delivered unfaltering honest character portrayals coupled with brilliant vocals and musicianship. Neither could be faulted in their brilliant hard hitting performance. Their casting was a commendable choice and they admirably portrayed a convincing real-life couple. 

Staging, costumes and props were minimal which felt authentic to the script. Unnecessary props and elaborate staging would have likely depreciated the poignant impactful themes. The music may not leave you singing as you leave the theatre or asking Google to play the soundtrack but I don’t feel like that was the intention. The obvious intentions of the “No Love Songs” musical is to be conversation striking, thought provoking and impactful and these intentions are mastered to perfection. 

No Love Songs is on tour around the country. For date/time sessions for your local area and to book tickets to No Love Songs, please visit https://www.nolovesongs.com.au/.

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Every Note Speaks What Words Can’t

No Love Songs

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What is it about a love song? It awakens something in us we can’t put into words. Love is the ultimate subject—it defines us, moves us, and makes us count. It comes in many forms, each as complex and transformative as the next.

Through bold storytelling and evocative melodies, No Love Songs swiftly shifts from the thrill of a new love to the profound, painful reality of losing yourself within it. Overflowing with enormous compassion and warmth, it delves into the raw intricacies of identity, relationships, and loss.

Inspired by the real-life experiences of co-writers Laura Wilde and her partner Kyle Falconer, the show draws from Falconer’s second solo album, No Love Songs for Laura (2021). Co-written by Johnny McKnight, delves into the relationship dynamics between Lana, a new mother, and Jessie, a songwriter at a crossroads. Beyond exploring career ambitions and new parenthood, it fearlessly addresses the often-unspoken challenges of postnatal depression. While this may seem like a confronting topic (and it is) the show’s heartfelt authenticity and humour make it both engaging and ultimately hopeful.

The success of this show hinges on the power and skill of its two actors, who bring a deeply personal journey to life through a duologue of contrasting perspectives that navigates the complexities of parenthood. Through soliloquies and inner monologues, the audience gains insight into their internal struggles, highlighting the deep yet often amusing gap between what they feel and what they express.

An undeniable spark lit up the stage whenever Keegan Joyce and Lucy Maunder performed together. Opposites truly attract—Joyce’s self-effacing, endearing charisma perfectly complemented Maunder’s bold, brassy power. Both hit every note effortlessly, their palpable chemistry making each moment feel relatable and electric, leaving me to wonder if they were a couple in real life.

The Foundry is the perfect new space for this inaugural musical – intimate enough to capture moments of stillness, yet expansive enough for the vocals to soar. The minimal yet impactful musical accompaniment—guitar, keyboard, and percussion—acts as the third character, subtly deepening the emotional layers of the story without overshadowing the intimate moments. The songs were catchy, not Top 40 hits, but expertly crafted to integrate and enhance the narrative. At times, the atmosphere strayed into rock opera territory, amplifying the intensity but there were also poignant, quieter moments that could have been pared down just a bit to sustain the overall momentum of the performance.

What stood out most was that Lana and Jessie felt like real people, pouring out their hearts, songs, and stories while stumbling through a world full of challenges beyond anyone’s full understanding or control. Their dynamic felt less like a performance and more like a confession.

As the audience shuffled out, an elderly gentleman turned to me—a complete stranger—his voice heavy with emotion, and said, “I now understand what my mother went through.” I paused, absorbing the weight of his words, and replied, “Me too.” At that moment, it became clear why Wilde and Falconer wrote this show.

Postpartum depression remained a taboo topic until the late 20th century, with stigma lingering despite growing awareness in the 2000s. This story has rarely been told publicly – let alone shared on stage- but it resonates powerfully across generations. By sharing these deeply personal experiences, we help others, and ourselves, to connect, heal, and feel less alone. When there is no villain, no antagonist, no clear balance – sometimes, that makes both life and theatre equally difficult and beautiful.

This is not your usual escapist musical filled with hearts and roses. It’s an aching, engrossing love letter to the messy, wonderful, awful chaos of being human. Great stories unravel hearts and open minds. Raw, cathartic, and unflinchingly authentic, No Love Songs delivers just that.

No Love Songs is on tour around the country. For date/time sessions for your local area and to book tickets to No Love Songs, please visit https://www.nolovesongs.com.au/.

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