Pomona

Pomona

Pomona Rating

★★★★★

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4

Content Warnings: Coarse language, adult themes, references to sexual assault, and suicide.

Science fiction, Dungeons and Dragons, and a missing sister. Pomona has it all.

With a well-oiled cast who together bring the desolate Blade Runner-esque world to life, the audience is sucked into the mystery of the missing sister.

“Ollie? Like, Oliver? Like, a boy’s name?”

We follow the stories of multiple characters in Manchester; as they manoeuvre through the story the characters watch one another’s performances from the stairs and behind the audience in the cloisters. Are they judging each other? Observing from afar? Making a point of the interconnections between the characters? You decide.

The jagged, raw emotions from each character as they navigate their lives, their connections, and their mistakes is palpable, and flows naturally from the performers. The stress, fear, and love emanate from the stage – no performer holds back, fully immersing themselves and their audience in their character’s storyline.

 

The costumes bring a balanced mix of dreary and science fiction, looking natural on the performers while adding to the worldbuilding of this alternate Manchester. Each costume appeared carefully considered and tailored for the character, while managing to encapsulate the atmosphere of the alternate Manchester and the performance. There are few costume changes, and each of them were smooth, blending into the story seamlessly.

The same can be said for the set design and the set changes – well-chosen pieces that showcase the ambience of Manchester, and seamless changes undertaken by the performers. The set changes were efficient, and elegantly doubled as an opportunity for the performers to drape themselves in their next observation location for the scene. The pieces doubled as a backdrop for the city, never straying far from the stage, and some contained multiple uses, changing from a bed to a desk and back again – a very tasteful use of the pieces at hand without overwhelming the performers or audience.

The audience was enraptured from the first lowering of the lights – LED strip lighting lined the stage and emitted a soft glow of anticipation. With torches being used by the performers as well as the lighting team, there was no shortage of creative use. This extends to the use of sound, as they work hand-in-hand with the lighting team to not only set the scene, but fully immerse the audience.

Pomona jumps forward and back in time to tell the story, with the mystery of the missing sister unfolding as the characters’ connections and personal gripes unfold. Be prepared to walk away with questions, and maybe even a desire to play Dungeons and Dragons.

To book tickets to Pomona, please visit https://www.trybooking.com/events/landing/1476481.

Photographer: Sophie Livingston-Pearce & Alice Smith

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Jesus Christ Superstar – Therry Theatre

Jesus Christ Superstar

Jesus Christ Superstar Rating

★★★★★

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1

Review: Jesus Christ Superstar – Therry Theatre

Therry Theatre has produced a joyous and excellent version of Jesus Christ Superstar receiving a standing ovation on the opening night adding to their outstanding history of superb musical productions – the whole season is sold out but beg, borrow or steal a ticket if you can!

Arguably Jesus Christ Superstar is Andrew Lloyd Webber and Tim Rice’s best musical/rock opera and the third they had written together, but not being able to find financial backing they initially were forced to release it as a concept album in 1970 which featured Murray Head, Ian Gillian and Yvonne Elliman. After the success of the album, it debuted on Broadway in 1971 then it ran for over eight years in its West End production holding the record for the longest running musical until it was overtaken by Cats in 1989. It has also travelled the world including highly successful Australian versions and was revived in the West End this year. If the Therry Theatre felt any pressure from this huge past success, they shouldn’t have because they have done an impressive job of the material.

Well past the point of worrying about spoilers of this story, after the Overture, Act 1 begins with Judas (Daniel Hamilton) concerned about followers of Jesus (Nicholas Munday) getting out of hand and threatening the establishment with the song ‘Heaven on Their Minds’. The apostles ask Jesus about his plans, but he tells them not to worry with ‘What’s the Buzz’. Judas reproaches Jesus about his relationship with Mary (Rebecca Pynor) ‘Strange Thing, Mystifying’. Caiaphas (Chris Coulter) and Annas (Parisya Mosel) and the High Priests plot Jesus’ downfall with ‘This Jesus Must Die’. This leads to one of the best songs of the musical/rock opera of ‘Everything’s Alright’. Then as Act 1 progresses another highlight of ‘I Don’t Know How to Love Him’ is wonderfully performed by Pynor.

 

 

Act 2 leads through Judas’s betrayal of Jesus, his trial then an absolutely brilliant version of ‘King Herod’s Song’ with Herod (Toby Strudwicke) and his courtiers dressed as clowns and tap dancing. The act then moves through to a glorious version of ‘Superstar’ and a respectfully handled crucifixion.

The set design by Ben Todd and the construction crew have produced a very useful and versatile space which easily switches from outdoor meeting places to indoor palaces. The Musical Director, Matthew Rumley and the band are to be commended for a great performance, if there were any missed notes they went unnoticed. Rebeka Stonelaitken’s choreography fits the production perfectly as well as the mix of old and new costumes.

Ben Todd’s direction has led to a magnificent production. In the leads, Hamilton, Munday and Pynor are stellar along with the rest of the spectacular cast.

As a testament to what audiences knew Therry Theatre would produce with this production of Jesus Christ Superstar, the whole season was sold out well before the opening night.

Reviewed by Rob McKinnon
Rating; 5/5

Jesus Christ Superstar runs 23 JULY – 1 AUGUST 2026
Venue: Arts Theatre, 53 Angas Street, Adelaide
Tickets: Sold Out

To book tickets to Jesus Christ Superstar, please visit https://therry.org.au/.

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Under The Table

Under the Table

Under the Table Rating

★★★★★

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One dinner party, one man in a chair, one book about ducks, one pair of handcuffs, and one pair of pants left around the victims ankles.

Who left the victim in such a state? The suspects – the best friend, the sister, and the lover of the victim – are being interrogated by investigators … and they’re not all recalling the night the same way. It’s up to Sergeant Melpo and Officer Thalia to figure out the truth amongst the lies, and bring the killer to justice. As long as Officer Thalia can stay focused on the case, that is.

Trigger Warnings: Under the Table has mild nudity; references and conversations relating to death and health concerns; sexual references; mature language; and the perfect amount of immature language.

There’s something to be said for a simple set. There was nothing misleading or confusing about the set or its layout, plus the interactions, flow on effect from room to room, and the use of every prop on stage was expertly carried out. Every centimetre of the set has been considered, and used for the full effect of each characters storyline. The props themselves were minimal, but each of them aided in the unravelling of the mystery, and felt well-suited for the setting. This extends to the costumes – every costume brought the character to life, was well-fitted to the performer, and (this reviewer suspects) provided some subtle clues to who the killer is, which you may not even realise until the big reveal.

 

 

As an added layer, the shows director, Alana, composed an original soundtrack for Under the Table! The music blended into the performance seamlessly, never overpowering the performance or the performers, but setting the scene as needed, keeping the audience on the edge of their seats as the mystery unfolded before us. The quality of sound was well balanced, never sounding grainy nor too quiet, with a healthy amount being added so to bolster the performance and not overwhelm it.

The only downside to the performance was the lighting and sound team being as close to the audience as they were – with their station being a part of the last few rows their conversations and movements occasionally carried to the audience. But they did an amazing job with their cues, never missing a beat and keeping everything running smoothly. Most impressive would be the timing of the door knocking – keep your eyes peeled for the accuracy between sound and actor!

With amusing one liners you’ll find yourself wanting to share with your friends, terrific delivery and on stage chemistry, Under the Table is well worth the viewing.

To book tickets to Under the Table, please visit https://www.trybooking.com/events/landing/1593214.

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The Shawshank Redemption On Stage Across Australia In 2027

Feature-The Shawshank Redemption

The celebrated stage adaptation of one of the most popular and enduring films of all time, The Shawshank Redemption, is coming to Australia. Direct from its acclaimed UK tour, The Shawshank Redemption will play in Sydney, Melbourne, Perth and Adelaide from January next year, with other cities to be revealed. Waitlist now at ShawshankLive.com.au to be first in line to purchase tickets and receive the latest news including casting announcements, exclusive behind-the-scenes content and tour updates.

The Shawshank Redemption is a powerful stage production that places you just metres from the action. Raw, intimate and deeply moving, this is theatre at its most compelling – where every moment unfolds live before your eyes. Based on Stephen King’s celebrated novella, this gripping adaptation tells an unforgettable story of hope, friendship and the resilience of the human spirit.

Wrongly convicted of the brutal murders of his wife and her lover, Andy Dufresne is sentenced to life imprisonment in the notorious Shawshank prison. As he navigates the harsh realities of incarceration, he forms an unlikely friendship with fellow inmate Red, discovering that even in the darkest of places, hope can endure. But when the corrupt Warden seeks to exploit Andy’s talents for his own gain, a quiet and daring plan begins to emerge, one that will challenge the very walls of Shawshank itself.

“Electrifying – it truly is a must see show” – The Observer
“This production has nailed it … Gripping live theatre” – Broadway World

“The Shawshank Redemption has captivated audiences around the world because it speaks to something universal, the enduring power of hope. We’re honoured to bring this extraordinary story to Australian stages and share an unforgettable theatrical experience with audiences across the country,” said producer Craig Donnell. “Great theatre doesn’t just entertain; it stays with you long after you’ve left the auditorium. The Shawshank Redemption is one of those rare stories that continues to resonate across generations, a story of hope, courage and perseverance, and I can’t think of a more important story to share with audiences today.”

Adapted for the stage by Owen O’Neill and Dave Johns, and directed by David Esbjornson who directed Angela Lansbury and James Earl Jones in the Australian tour of Driving Miss Daisy, this acclaimed production captures the emotional power and humanity that have made The Shawshank Redemption one of the world’s most enduring stories.

The 1994 film adaptation, nominated for seven Academy Awards, has become one of cinema’s most beloved classics. Now, experience a story of hope, friendship and redemption brought vividly to life in an unforgettable live theatrical event.

THE SHAWSHANK REDEMPTION
Adapted for the stage by Owen O’Neill and Dave Johns, based on the novella Rita Hayworth and Shawshank Redemption by Stephen King
Directed by David Esbjornson
Produced by Impresario Productions, by arrangement with Bill Kenwright Limited
By arrangement with Knight Hall Agency Ltd in association with Paradigm Talent Agency

SEASON DETAILS
Theatre Royal Sydney – From 2 January 2027
Playhouse, Arts Centre Melbourne – From 4 February 2027
Regal Theatre, Perth – From 12 March 2027
Her Majesty’s Theatre, Adelaide – From 1 April 2027
Other venues still to be announced

Waitlist for all cities now at ShawshankLive.com.au

 

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