Nostalgic, Hilarious, Infectious Fun for Fans Old and New!

Stranger Sings! A Parody Musical

Stranger Sings! A Parody Musical Rating

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The Eternity Playhouse Theatre in Darlinghurst is a perfect blend of plush red velvet and modern design, creating a space that feels rich with history, despite modern touches. To the side of the stage, a small band waits eagerly, giving that unique thrill only live musical theatre provides. Early show wrinkles were handled with humour and camaraderie, immediately setting the tone for a show that thrives on both chaos and connection.

Stranger Sings! The Parody Musical is exactly what its title promises: a satirical, joyfully camp reimagining of Stranger Things. Across 90 minutes, Hawkins is gleefully turned upside down, with the iconic core four; Mike, Lucas, Dustin, and Will; at the story’s centre. Each young performer captures their role with razor-sharp comic nuance. Raven Swinkels gives Eleven both haunting presence and playful edge, while Anouk Macarthur Mitchell leans into Will’s fragility with endearing self-parody. Julien Daher’s winning Dustin brims with charisma, Ruben Aguilera hits the mark as earnest Mike, and Jahzara Mariasson brings fiery energy to Lucas.

And then, of course, there’s Barb. Belle’s powerhouse vocals ensure justice is not just served but belted to the back row, a standout that lit up the night. The wider ensemble provide a constant stream of physical comedy and energy, morphing into bullies, scientists, and perhaps most memorably, a gloriously camp Demogorgon. Together, their knack for timing and willingness to push into parody’s extremes kept the show fizzing with momentum.

 

 

The production is deliberately low-fi in its design, which only adds to its charm. Simple staging is enlivened with clever costumes, witty choreography by Anna Jaques, and inventive ensemble work that makes even the scene changes cheekily entertaining. Musical director Mitch Brown guides the band through a synth-heavy score that perfectly skewers the 1980s vibe, layered with inside jokes and knowing winks to pop culture.

Vocally, the cast are outstanding. Occasional mic issues threatened clarity, but the performers carried through with enough charisma and vocal strength that the cracks only showed how strong the foundations were.

What elevates Stranger Sings! beyond parody is its cheeky breaking of the fourth wall. These playful intrusions make the audience co-conspirators, reminding us all that this is both fan satire and affectionate send-up. Even for those of us who lost track of the show past season three, the humour lands. The references are sharp enough for superfans, yet broad enough to keep casual viewers grinning throughout.

Above all, the joy radiating from this young cast is infectious. They aren’t just parodying Netflix’s most nostalgic property; they’re celebrating the simple delight of putting on a show with gusto, fearlessness, and a palpable sense of fun. To see so much future talent unified in delivering something this funny, smart, and warm is a treat, and a reminder that Sydney’s next wave of performers is already here.

Did I want to leap onto the stage to join them? Absolutely. And that’s the upside-down magic of Stranger Sings!: a parody that revels in its chaos, and a cast that makes you want to be part of the ride.

To book tickets to Stranger Sings! A Parody Musical, please visit https://sydneyfringe.com/events/strangers-sings-the-musical-parody/.

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A Deep, Beautiful, Brave and Vulnerable Piece of Performance Art

Once In A Blue Moon

Once In A Blue Moon Rating

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ā€œOnce in a Blue Moon,ā€ created and performed by Tala Issaoui as part of PYT Fairfield at the Sydney Fringe Festival, delivers a brief yet densely layered experience that fuses dance, ritual, and evocative visual storytelling.

Spanning just 30 minutes, Issaoui’s multidisciplinary performance beckons the audience into a shifting world of transformation. It’s a melancholic trilogy told through patterns, transitions, and potent symbolism.

The work opens with a striking video projection: Issaoui’s dance, rendered in cinematic hues and fluid imagery.

The transitions between film and live presence feel seamless, as the artist materialises onstage before a circular altar adorned with pebbles, an urn, and a pair of goblets.

The artist’s movements around this circle are cyclical and deliberate, blending ritual with choreography in a way that bridges the personal and the universal, with the lights, sound and music complimenting each phase.

Throughout, imagery and symbolism abound; the veil, for instance, which seems to float between meanings, might connote marriage, transformation, or transcendence.

The rhythmic motions, paired with dynamic lighting and a soundscape of often eery music, build tension and drama: thunder and lightning suggest fear and elemental power, while the act of dousing with water feels like a physical release, mourning, or rebirth. Texture becomes tangible as exaggerated makeup begins to spill down Issaoui’s face, accentuating the emotional intensity and the sense of unravelling.

 

 

The performer’s precision timing is key, with the crafted sound and lighting cues. These multi-dimensional effects surround the audience with layers of sensation, blurring boundaries between dance, ritual, and visual art.

Patterns repeat and modulate, symbolising repetition and cyclical pain, while the pace of the piece builds into a crescendo of melancholy.

Issaoui is visibly moved by the work’s close, punctuating the experience with authenticity and emotional depth. The ritual ends not with clear answers, but with a shared sense that something profound, if hard to articulate, has transpired.

While ā€œOnce in a Blue Moonā€ may not suit every taste, I found myself admiring the precision and vision more than personally connecting with its abstract ethos. It stands as a compelling example of experimental performance in Western Sydney. The blending of film, choreography, sound, and symbolic staging delivers a textured, esoteric meditation on grief, transformation, and spiritual passage. Issaoui’s willingness to traverse the boundaries of art-form and narrative ensures this work is both brave and memorable. I admire and am in awe of the power of the personal artistic risk and wholehearted embodiment.

Recommended for those ready to meaningfully engage with experimental theatre. It is a deep, beautiful, brave and vulnerable piece of performance art.

To book tickets to Once In A Blue Moon, please visit https://sydneyfringe.com/events/once-in-a-blue-moon/.

Photographer: Benjamin Tiger La

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A Thoughtful, Entertaining, And Faithful Rendering Of A Complex Classic

Rosencrantz & Guildenstern Are Dead - Hunter's Hill Theatre

Rosencrantz & Guildenstern Are Dead – Hunter’s Hill Theatre Rating

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Hunters Hill Theatre’s ā€œRosencrantz & Guildenstern Are Dead,ā€ Tom Stoppard’s legendary absurdist tragicomedy, delivers a warm and lively take on the tale of two minor Hamlet; characters doomed by fate and their own obscurity. From the outset, the greeting from the Hunters Hill Theatre committee sets an inviting tone, matched by the cheerful note of live music wafting through the space as the audience finds their seats; a particularly thoughtful touch that eased the transition into what would be a lengthy but joyful theatrical experience.

Stoppard’s play pivots around Rosencrantz and Guildenstern, two bewildered courtiers caught on the fringes of Hamlet’s story, who contort through existential wordplay, philosophical meanderings, and a growing awareness of their own lack of agency. The narrative, fragmented and surreal, weaves in and out of Hamlet, placing our protagonists in a landscape where meaning and momentum are perpetually just out of reach. While in theory this absurdist structure invites playful confusion, in practice it can be a genuine challenge for audience members to follow; something I certainly experienced at times.

The sequence of coin tosses, theatre-troupe hijinks, and discussions of fate and free will were made more powerful by the gorgeous old theatre style setting, the reds of the enticing set, the colourful costuming and light design and the interwoven 90s classics as the soundtrack.

Karen Pattinson’s Rosencrantz anchors the show with remarkable vitality, her presence is infectious, and she brings a buoyant, engaging quality to every scene. With a playful physicality, Pattinson makes superb use of the stage, drawing energy from even the most challenging passages and keeping the audience engaged. She manages the lightness and quick wit the role demands, creating a Rosencrantz who is both affable and deeply sympathetic, maintaining momentum even where Stoppard’s existential riddles might otherwise cause the pace to lag.

 

 

Jivan Drungrilas as Guildenstern plays the perfect foil to Pattinson’s cheer, rendering their character with brooding skepticism and philosophical weight. The dynamic between the two is the production’s heart; comic timing and tonal balance keep the core relationship feeling alive, dynamic, and frequently funny.

The supporting cast deserves credit for enlivening the margins with punch and humour, particularly during the play’s meta-theatrical moments and ensemble-driven scenes involving the Tragedians. The use of shadow puppetry adds a whimsical element. Their comic timing and character work bring welcome clarity and relief, heightening the absurdity while never losing the sense of fun.

Practical touches, such as the provision of cushions for the chairs, should absolutely be taken up, as the play’s length is both a testament to the ambition of the company and a point of practical consideration for audiences. These small gestures, along with the committee’s warm welcome, reflect the community ethos that makes local theatre so rewarding.

As with any opening night, there were some small hiccups and moments where the pace snagged slightly, but these did little to diminish the overall energy and connection of the cast. The enthusiasm onstage, particularly in the lead performances, quickly won over the audience and supported the more challenging elements of the text.

The direction of Tui Clark and the well-chosen cast really have taken this piece to the next level. The production offers a thoughtful, entertaining, and faithful rendering of a complex classic.

To book tickets to Rosencrantz & Guildenstern Are Dead – Hunter’s Hill Theatre, please visit https://www.huntershilltheatre.com.au/.

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An Epic Masterpiece Of Creative Collaboration

Fewer Emergencies

Fewer Emergencies Rating

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Upon entry to the theatre, the background music is teetering that edge of ambient and unsettling. There’s a child rocking on a horse downstage right. They are framed by large, open vertical blinds. Warm lights with an amber filter touch key points of the stage, which has the old school brown shag carpet. There’s late 80s school desk chairs to the right and left of an armchair in the middle, with a lit lamp and a red book. These nostalgic items, and the child’s rocking only pausing for the Welcome To Country recording, create atmospheric tension.

The cleaning crew enters the space in their blue jumpsuits. They get to work vacuuming, sweeping and dusting. Their movements are coordinated and choreographed. There’s a poetry to it.

One of the cleaners begins to touch the items in the middle. The actor, played by Monica Sayers, wraps a scarf around her neck and the ensemble cleaning crew, with Olivia Hall-Smith and Bayley Prendergast notice and respond.

The scarf wearer tells the story of a woman who is trapped in an unhappy marriage, taking and rejecting story prompts from the other two. At times forgetting (wilfully and not-so) the detail. An unhappy and unreliable narrator is created, not just by the storyteller, but by the contributions of the other two, as they explore the elements that are supposed to make couples happy in society, and the unlikely elements that make things worse instead of better.

 

 

We shift to a classroom setup and the fourth member (Clay Crighton) enters the space wearing a beige jumpsuit similar to the others, but for the colour. Bayley becomes the narrator of this story, with a harrowing classroom scene. Clay retreats to the side of the stage. Where they lean upon the wall in a quiet, but visceral changing state of agony and pain. Their fingers pulse as the anguish and torment is embodied. This is achieved with very little other movement, even of their facial features. Somehow they are able to portray magnitudes in the slightest ways. It’s powerful and heart-wrenching to observe.

As the intense story unfolds, Clay starts to contribute to the narrative despite the warnings of ā€œDon’t help me!ā€ from the central narrator. This account challenges the participating story-weavers to accept an ā€œunsympathetic characterā€. It’s a tale of a monster who has what they deem to be society’s ideals; money, property, family; and nothing to cause them to commit the heinous acts we witness. The fourth narrator (Clay) then transforms this piece in a unique way, and it shifts into something unexpected.

The concluding story may be a culmination of the previous two, it is clearly connected to the first narrative, and makes sense of some of the discrepancies. The use of shadow has been a compelling device throughout the piece, and is taken to a peak in this final act. The ensemble work brings the play to a cataclysmic crescendo before the abrupt blacking out. Then they shift to curtain call, which is noticeably agonising for the incredibly talented Clay to adjust into. The rawness is still there as they try and return to reality.

This is an epic masterpiece of creative collaboration and exceptional talent. It’s clearly the result of challenging and complex ensemble work which has paid off spectacularly.

I admit I don’t have the technical language to give credence to the importance of the lighting and sound effects, which are vital elements to the hard-hitting impact of this piece of work. Izzy Morrisey has created a lighting design where every change is crucial, every State is meaningful, and the team executed this beautifully.

Director, Harry Reid, is an ungoverned genius. There are so many elements of Fewer Emergencies that I have not managed to put to words and, in a way, I’m grateful for that as it is something that truly needs to be witnessed. It’s a remarkable piece of theatre and I am going to be contemplating it for a long time to come.

To book tickets to Fewer Emergencies, please visit https://www.oldfitztheatre.com.au/fewer-emergencies.

Photographer: Robert Miniter

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