Host and MC Paul Dabek takes the audience on a nostalgic stroll through the London of his memories â and honestly, who doesnât love a wander down memory lane? When that journey is punctuated by performers of this calibre, it becomes something truly special.
Framed around stories of a childhood train trip to visit his grandad and wide-eyed visits to Londonâs iconic landmarks, each anecdote is cleverly paired with a complementary act. The result is a show that feels cohesive rather than just a string of variety performances. And what performances they are! Weâre treated to dizzying suitcase spinning, a breath-taking aerialist, juggling (with his mouth!), mesmerising hoop work â human slinky, anyone? â magic, illusion, and shadow puppetry that has absolutely no right to be that exciting. Seriously, highlight of the night.
The show is completely family-friendly⊠but learn from my mistake and maybe donât bring your kids. Mine mocked me relentlessly while I cringed through audience participation and then finished me off by asking about the âoldâ references and music. Nothing like your children to humble you after an epic night out.
Having seen more than a few Fringe shows this season, Londonâs Calling is a genuine standout (thank you to the friend who told me to do myself a favour and book tickets â excellent life advice). The performers are immensely skilled, Dabek keeps the energy soaring, and the staging elevates the entire experience. The projected backdrop transforms ‘plastic chairs in a disused tennis court’ into faraway streets, effortlessly transporting the audience across the globe.
In short: clever, polished, and wildly entertaining â this is one call you definitely want to answer.
Amplified: The Exquisite Rock and Rage of Chrissy Amphlett Rating
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Amplified at Belvoir St is Sheridan Harbridgeâs exhilarating homage to legendary Australian rock icon and Divinyls frontwoman, Chrissy Amphlett. Written and performed by Harbridge (Prima Facie), directed by the award-winning Sarah Goodes (The Weekend) with musical direction by Glenn Moorhouse (Hedwig and the Angry Inch), Amplified enters the annals of Australian music historiography.
Part biography, part autobiography, part cabaret, part live concert, part tribute, Amplified is electrifying from the moment the band takes their places and Harbridge enters from the audience wearing knee length boots, a black leather mini skirt and a black trench adorned with silver glitter. She immediately owns the stage.
The show opens with Harbridge asking the audience to tap into their own experiences of seeing school-tunic wearing Chrissy on stage. The band then comes in with âIâll Make you Happyâ and the audience responds. Cheers and applause fill the theatre and the energy is palpable. Itâs a terrific and uplifting rendition.
Harbridge doesnât try to imitate the unique and sublimely defiant Chrissy Amphlett, rather she uses music and stories told by Amphlett herself, and those who knew her, to keep the memories alive and, in doing so, evokes a sense of immortality surrounding the singer.
Amplified tells of Amphlettâs childhood in Geelong and of the circumstances that moulded her into the fierce, feminist, rebellious frontwoman she became.
To those who saw Divinyls on stage in their â80s and â90s heyday, the experience was unforgettable. Amphlett was unapologetically brash, raucous, overtly sexual and subversive, upending the then Australian music industry dominance of male lead singers. Harbridge showcases Amphlettâs bold stage persona, explores her vulnerabilities, and delves into her long and complicated relationship with Mark McEntee, the bandâs co-founder.
This reviewer went to many Divinyls gigs and remembers one in particular at Caringbah Inn in the early 1980s where Amphlett spat on her, which felt like a badge of honour at the time. One never knew what Chrissy might do next!
Like Chrissy, Harbridge teases the audience, but, unlike Chrissy, does so in an unthreatening manner. She takes an unwitting patronâs handbag and empties it on stage; she interacts with the audience, bringing to life the iconâs bad girl persona in all its hilarious brilliance. This is definitely not a production for children.
The stage is backlit by blue lighting with several spotlights centred on Harbridge. The floor seems to be etched in silver swirls and circles emanating around the mic stand like a galaxy of stars, which evokes, in this viewer, the chaos and frenetic energy of Amphlett standing at the centre of her universe.
The four-piece band comprises accomplished musicians Glenn Moorhouse, Ben Cripps, Dave Hatch, and Clarabell Limonta. Their polished execution of songs and divine back-up vocals elevate Harbridgeâs storytelling. Harbridgeâs vocal range is impressive: from the guttural to falsetto, she doesnât miss a beat. She uses a recurring motif to tease the audience, which I wonât reveal, have them wanting more and it works to great effect. The background music to Harbridgeâs narration is low-key but performative to the story. The tempo walks with each particular narrative then explodes into song.
Sheridan Harbridge is an actor and writer of extraordinary talent. Her comedic timing and ad-libbed moments are things to behold. With Goodes and Moorhouse as collaborators, she has created a wonderful production that surely tugs the nostalgic heartstrings of theatre-goers across Australia.
The dazzling celebration of Stephen Sondheimâs greatest work, Putting It Together, has only two more weeks to play at Sydneyâs Foundry Theatre. This wonderful show, which garnered four and five stars from critics and huge acclaim from audiences, must close on 15 February. Set at a glamorous cocktail party, the show blends wit, charm and razor-sharp insight as the cast navigate the complexities of love, ambition and desire.
Featuring a seamless revue of Sondheimâs most iconic songs, audiences are taken on a journey through the genius of one of musical theatreâs most influential composers and lyricists, all wrapped within a clever and intimate story set at an all-night, black tie party.
â â â â “For charm and sophistication this superb show canât be beaten” â Sydney Morning Herald â â â â “Superbly staged and performed” – Limelight â â â â â âmusically spectacularâ â Stagenoise âDo not miss this!â Broadway World âA once-in-a-lifetime ensemble, and the performances are genuinely extraordinaryâ – Sydney Travel Guide
Putting It Together was first performed in Oxford, UK in 1992, directed by Julia McKenzie and produced by Cameron Mackintosh, with a cast led by Diana Rigg and Clive Carter. The original US production in 1993 by the Manhattan Theatre Club featured Christopher Durang, Rachel York and Dame Julie Andrews, making her return to the New York City stage after an absence of more than 30 years. The Broadway production in 1999 starred Carol Burnett, George Hearn, Ruthie Henshall, John Barrowman and Bronson Pinchot. Hearn was nominated for the Tony Award for Best Actor in a Musical. The revue received its West End premiere in 2014 featuring Janie Dee, David Bedella, Damian Humbley, Caroline Sheen and Daniel Crossley.
Donât miss this extraordinary, once-in-a-lifetime musical event.
SEASON DETAILS Venue: Foundry Theatre, Pirrama Road, Pyrmont Season: To 15 February Performance Times: Tue-Thurs 7pm, Fri-Sat 7:30pm, Matinees Wed 1pm, Sat 2pm, Sun 1pm & 6pm (performance times vary each week) Prices: From $69.00 (Transaction fees apply) Bookings: ticketmaster.com.au or 136 100
Inspired by the words; âItâs time to lay your old self to rest â and be reborn as the ultimate version of yourself, as you were always meant to be. This is your ending. This is your beginning. This is FUNERALâ, I ventured over to Howler in Brunswick on 29/1/26 to see âFuneralâ, a âlive music performance from dark, electronic, alt-pop phenomenon, KING IV.â (Pronounced I-V-Y.)
âFuneralâ is the live performance of KING IVâs dance-pop album, âPsychopomp: the other side.â Melbourne artist, Cheyenne Harper, is professionally known as King IV, who imagines herself as a conduit between two worlds, which provides her â and in turn, us – with a feeling of freedom and power.
The MIDSUMMA festival program is made up of diverse art forms and genres, so I knew âFuneralâ by King IV would be far from vanilla. I certainly got more than I expected – as Iâm sure crowds discovered from King IVâs past gigs at Beyond the Valley, Melbourne Music Week and previous live and large events.
All songs are originals, written and composed by Harper and backed by a visual feast of cinematic projections and dark choreography, to live and synth-ed music. Donât fear or judge the synthesizer. These songs are truthful and from the soul. There is a rawness and honesty thrown artistically and boldly in-your-face, and each track leaves you wanting more.
Beginning with a video wall as wide as the stage and evocative words conveying her âred beingâ crossing to the other side, we meet a sensual King IV with her 2023 single, âSee you laterâ, a song about seeking pleasure and letting the light of passion free one from darkness.
King IV told Australian Music Scene in 2022 the song ââŠpoured out of her after a night out clubbing and being love-bombed by the person she was out with.â When writing âSee you laterâ, she was also influenced by psychotherapist, Carl Jung, and his quotes on passion, including, ââŠthey must be on fire even if they make a fool of themselvesâŠâ
âSee you laterâ, is both erotic and clubby so, everyone at Howler moved towards the stage where we could be closer to even more surreal imagery from this extraordinary artist and her voice-over, asking;
âDid you become the forest? Or the space between the stars? The wind crossed through the valley, or the harsh and ancient jars? I reach for you in the windâŠ. in earth, in flame, in sea. Whatever form youâve taken, please leave a space for me. Tell me if youâre alright, even if youâre not. Even if youâre gone now. Is your soul forever lost? Welcome to the cosmos and floating on the stars. A break inside the universe. Youâre always in my heart.â
She has taken us to the Afterlife. Itâs something weâve all considered, especially after profound loss.
King IV, as her âred beingâ, then returns with a plethora of pumping poetry.
A funky kick-beat of a song, âWickedâ, was one of my favourites. – âWe can cross the seasons. We can reach the stars.â I resonated with her âwicked witchy womanâ story.
Next, âNight and Dayâ with IV singing inside a red-lit coffin, standing centre stage. Loved the electric guitar riff on this one. – âI like it when you taste it. I do. I do. I like it when weâre naked. I do. I do.â
âMurderâ mixed ethereal vocals and electronic layers.
âPsychopompâ was a stand-out. – âIâm a fire-breathing dragon. Always ready for some action.â
Ultra-talented Pat Gabriel, composer and musical director – @pattyboomba – plays the keyboard, the strings and other recorded pieces throughout the whole show and, it’s obvious to everyone he loves what heâs doing. Heavy on the bass, he interprets his talents within King IVâs compositions.
The Funeral dancers are fit and fast with dynamic and demonic moves, framing King IV fabulously along this unique journey sheâs created for us.
âPsychopomp; the other sideâ is an excellent electronic, dance compilation, moody and theatrical, exploring hedonistic lifestyle, personal transformation and pushing each of us to claim our own unique identity. – âTo truly transform, you must let the old self die â and trust that something greater is waiting to be born.â
Words of wisdom to live by as we venture into 2026.
Purchase King IVâs âPsychopomp: the other sideâ album from Bandcamp, an online site that directly support the artists who make music.
