Recovering Eldest Daughter

Recovering Eldest Daughter

Recovering Eldest Daughter Rating

★★★★★

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Rachel Tunaley’s “Recovering Eldest Daughter” was a riotous way to spend Saturday night. It was her first time performing in Sydney but not my first time watching her perform. I saw her show “Motion Sickness” in Adelaide Fringe in 2025 and absolutely loved it, so I was very interested in seeing what she had cooked up this year. The show’s description gripped me from the outset with mentions of mental illness and eldest daughter syndrome, and it did not disappoint. However, I do not think you need to be an eldest daughter to enjoy the show. It was cleverly Australian and relatable for anyone who has dealt with a perfectionist, overbearing, control freak in their life or just has a family really.

I attended with my housemate and we have both been dealing with another, departing housemate who has her share of mental illness and neurospiciness. “Recovering Eldest Daughter” was the collective, cathartic release we, and all the audience, needed. Rachel cleverly used audience participation to keep engagement and make it feel like a group therapy session. Her connection with the audience was electric and quips breaking the fourth wall were inspired, especially when she was admonishing us for laughing hard in a “serious” song or commenting that she couldn’t have “made it” since she didn’t have a full house. My housemate and I did not stop laughing through the whole performance.

 

 

Rachel used brilliantly simple lighting, staging and props to convey big ideas. I always love shows that use a projection to their advantage, especially in this age of social media. Recovering Eldest Daughter did this extremely well with real clips from Rachel’s life showcasing that she has always been a self-proclaimed “Drama Queen”, as well as lyrics for audience sing-a-long participation and really driving her points home visually. Straight away we knew who she was and where the show was going which is reassuring as an audience member. Voice over was also used to add layers and introduce us to other characters though it was just Rachel on the stage.

When I saw motion sickness (if I remember correctly) Rachel was using songs we knew but changing the lyrics to fit the story. This time, it seemed to be original music and that she has found her own voice and something more to say. The pace was perfect, it allowed you to really take in the message but we were not able to get bored. Rachel is a very talented performer with a powerful voice and not only for cabaret or musical theatre style tunes but busts out into rap too. Her dancing and physical comedy was hilarious and she really committed to the bit. “Intrusive thot” was a huge highlight for us, we even bought merch! Throughout the show, Rachel was very open and vulnerable, sharing quite a personal story about her journey to acceptance of her mental health diagnosis and work healing her inner child. Who knew it was as simple as a cheeky dopamine purchase!

I highly recommend seeing this show while Rachel is in Sydney, it’s a very professional and personal take on musical comedy and I think it won’t be long until she is off to Edinburgh!

To book tickets to Recovering Eldest Daughter, please visit https://tickets.qtopiasydney.com.au/Events/Recovering-Eldest-Daughter.

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A Pride-full Celebration Of Unprecedented Talent! Happy Pride!

Homo Grown

Homo Grown Rating

★★★★★

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2

Imagine crossing the rainbow street and walking into Qtopia on the first day of Pride month, only to be greeted by the one and only Kala Gare’s and Kala’s incredibly beautiful, smiling face! Well, I don’t have to imagine, because that’s how this year’s Homo Grown kicked off for me.

Home Grown Australia, are pioneers championing new theatre and musical theatre works in Australia. What started as a backyard pub meeting, now has the backing of MTIA and the Australian Government. Founded by Nick Hedger and Ben Nicholson, Home Grown have nurtured beloved Australian new works such as My Brilliant Career, FANGIRLS and A Trans Woman On The Internet, Crying.

Homo Grown is a Pride-full celebration of queer Aussie new works to be produced, to come and in progress. The queer celebration in the room was electric, not least of all because the multi-talented Kala Gare was guiding the ship.

Kala kicked us off with an original “Hello” that speaks to “Letting freedom flow”, which was a great set up for the night. Kala’s skillful piano along with an incredible voice and sharp, relatable lyrics had us strapped in for “a wild ride, to say the least.”

Next up was Phoebe Rodger with the title song from upcoming “Phoebs, You’re A Lesbian” on June 10th – 12th at QTopia. Described as “a letter to my younger self”, this song was earnest, clever, cute, hilarious and relatable. Much like Phoebe. The second song was from a “yet to come” musical, it took us on a humorous journey of Phoebe’s ideal career discovery through a career’s test.

Cassie Hamilton and Nic Prior then took to the stage for a snippet from Afterglow by Sheanna Parker Russon & Lillian M. Hearne which will be showing at the Belvoir and is described as a “Barbershop rom-com”. Lillian introduced the piece and began to play, while Nic tore us into their deep, tender and sombre beginning. Cassie joined in and the duet echoed the lyrics “With you I fit”. Nic’s tender fragility of emotion is in stark contrast to the power of their voice, while Cassie’s sombre moments are only magnified by the reality of her powerhouse vocals. Cassie took to a solo called “Normal Michael” in which we got more of that voice, and what I can only describe as four seasons in one face, as we join the emotional journey of the character Cassie is embodying.

Matt Hawke then took us into their song from upcoming “Beautiful Lies” on June 11th-14th at the Substation Qtopia. Described as one of the lies unpacked in therapy, we deep dive into Matt’s 20 year old identity exploration wrapped in self-deprecating humour. None of us saw the sharp turn from this jaunty piano-pleaser into an acoustic guitar heartwrenching homage to Matt’s deceased dog. It left the majority of the room in tears, and awe at its beauty.

 

 

Robbie Alexander and Alex Gonzales had to wipe away tears and reset for their performance from “Twenty-Something”. Alex played the character, Charlie’s Mum, deadpanning that “I’m wearing a cardigan so you know I’m a mum.” and meeting a lot of laughter. Alex performed “Long Story Short” with power, emotion and a lot of talent. Robbie performed “Delightfully Gay”, showing us the tug of war between Angel and devil on the shoulder and reinforcing the lyrics “There’s no such thing as ‘a little bit much’!”

Lincoln Elliot joined forces with Kala, Natalie Abbott, Gracie Rowland, Nead Cristaudo, Alex Gonzales, and friends for a snippet from the “yet to be announced” emo-rock heist. The performance of “Creativity Is An Island showcased exceptional musicianship and a palpable musical love and collaboration between the group.

Kurt Kansley and Oli Lidert were missing in action, enjoying their time in Moulin Rouge, but Katie Staddon did them proud and then some with “More Than Words On A Page”. Katie’s vocal range is beyond comprehension, the melodies sublime. The swift shift from deep soul to angelic was out of this world.

Meg Rob took us on a solemn and sincere ride with “Step Into Infinity”, showcasing an ability to embody the characteristics of an introvert grappling with personal trauma, while knocking our socks of with some big belts. Those who saw Meg in Jagged Little Pill will be familiar with this ability to take an audience on a wonderful and surprising ride. Catch Meg’s show “Make It Queer” 25th-26th June at Loading Dock, Qtopia.

We finished with the cast and creatives from Nails 25th-27th June at The Eternity Playhouse. Created by Sophie Davis and Laura McDonald, and composer Harry Collins. This netball based comedic musical has a lot of balls (see what I did there?). Nead Cristaudo had us captivated as the coach, mixing brilliant comedic timing with powerful vocals.

Then the large ensemble cast and creatives from Nails finished us off on a high with Natalie’s gorgeous voice and some epic harmonies being the highlights of this final piece. It was an incredible finish to a night of unprecedented talents and not-to-be-missed new works! Make sure you catch these and as many Pridefest shows as you can this month. More than ever, we need to join together and support each other. Happy Pride!

To book tickets to Homo Grown, please visit https://tickets.qtopiasydney.com.au/Events/Homo-Grown.

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Media Release: Dirty Rotten Scoundrels The Musical Opens Tomorrow At Hayes Theatre Co

The devilishly cheeky, fun-filled Broadway music Dirty Rotten Scoundrels, officially opens at Hayes Theatre Co tomorrow. This glittering new production features an hilarious and sinfully talented cast led by musical theatre’s funniest leading men, Rowan Witt and Blake Erickson. Tickets are almost sold out with a handful still available from www.hayestheatre.com.au. To keep up with overwhelming demand, the production will transfer to Riverside Theatres for a strictly limited season. Tickets can be found at https://riversideparramatta.com.au/whats-on/dirty-rotten-scoundrels/

Music theatre star and Hayes Theatre Co favourite, Blake Erickson plays Lawrence Jamieson, a suave conman who believes in tricking corrupt, rich people out of their money to finance his lavish lifestyle. Currently on stage in the national tour of Cluedo, Blake most recently wowed audiences with his hilarious performance as Roger de Bris in The Producers and will later be seen on stage in My Fair Lady.

The cocky small-time American hustler Freddy Benson will be played by star of screen and stage, Rowan Witt who will make his welcome return to the Hayes. Rowan has starred in blockbuster productions Hamilton and Book of Mormon and played the leading role of Georg Nowak in She Loves Me at the Hayes. Currently, he can be seen in television series Ghosts Australia and Totally Completely Fine.

Christine Colgate, the naive and wealthy American heiress who is the target for Lawrence and Freddy’s con, will be played by Kristina McNamara (Ned Kelly, CHICAGO), and Jordan Shea (The Producers) plays police chief Andre Thibault. Two of the women conned by the pair, Muriel Eubanks and Jolene Oakes, are played by up-and-coming musical theatre stars Aurélie Roque (Pippin) and Scarlet Lindsay (Guys and Dolls). Rounding out the cast in the ensemble Oliver Clisdell, Emma Feliciano, Brendan Godwin, Madelene Kirkwood and Christopher Tendai.

This all-new Australian production of Dirty Rotten Scoundrels is directed by Rebecca McNamee (Abigail Williams), musically directed by Dylan Pollard (Woman on the Verge of a Nervous Breakdown) and making his choreography debut is Cameron Boxall.

Based on the hit 1988 film starring Michael Caine and Steve Martin, this Tony-nominated musical comedy follows two cunning conmen — the elegant, ruthless Lawrence Jamieson and the wildly unpredictable Freddy Benson — as they go head-to-head on the French Riviera in a winner-takes-all game of deception. Their target? A sweet, unsuspecting American heiress. But in a world built on lies and reinvention, nothing — and no-one — is quite what they seem.

With a razor-sharp book by Jeffrey Lane and an irresistibly cheeky score by David Yazbek (The Band’s Visit, Tootsie, The Full Monty), Dirty Rotten Scoundrels is a riot of farcical foolishness, toe-tapping tunes, and whip-smart satire. Expect bold physical comedy, razor-edged elegance, and performances as dazzling as a Riviera sunset.

DIRTY ROTTEN SCOUNDRELS
Director Rebecca McNamee
Music Director Dylan Pollard
Choreographer Cameron Boxall
Set Designer Soham Apte
Costume Designer Angelina Daniel
Producer Ebony Tucker
Associate Choreographer Carla Venezia
Assistant Choreographer Lauren Mitchell
Lighting Designer James Wallis

SEASON INFORMATION
Hayes Theatre
When: Friday 22nd May – Sunday 21st June
Times: Tues 6.30pm, Wed-Sat 7.30pm, Thursday 1.00pm, Saturday 2.00pm & Sunday 1.00pm
Tickets: Tickets from $79 Adult, $69 Concession/Group, $60 Under 35, Previews from $69
Bookings: www.hayestheatre.com.au | (02) 8065 7337

Riverside Theatres
When: Thursday 25th June – Sunday 28th June
Times: Thursday 2.00pm & 7.00pm, Friday 7.00pm, Saturday 2.00pm & 7.00pm, Sunday 2.00pm.
Tickets: From $59.00
Bookings: https://riversideparramatta.com.au/whats-on/dirty-rotten-scoundrels/

 

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Neighbourhood Watch

Neighbourhood Watch

Neighbourhood Watch Rating

★★★★★

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4

This was my first visit to Lane Cove Theatre Company, I was met by warm greeters at the door. The intimate space then added to that cosy sense of community-mindedness. The warmth and passion of director Kathryn Thomas, delivering the acknowledgment of country and welcoming us, was a great start. I was excited for what lay ahead.

The Wednesday 11am session is, I can now confirm, a genuinely civilised way to experience theatre. It is also, the perfect hour for this attention-challenged reviewer to see Lally Katz’s Neighbourhood Watch; a hefty play dealing with some big issues centring the question of when and why we stopped knocking on each other’s doors.

The set divides the stage into two distinct domestic worlds. To one side, Ana’s home; layered with the sentimental clutter of a long life, ornaments and keepsakes crowding a shelf beside antique chairs upholstered in faded pink. To the other, the sparse, slightly chaotic territory of youth; a cream sofa with an ironing board for a companion. That ironing board is doing a lot of thematic work, as it turns out.

Directors Kathryn Thomas and Christopher O’Shea, use a creative light and sound design to split stage with real intelligence; symbolic darkness pooling around characters who are unheard or unreachable, light carving out the emotional temperature of each scene with quiet precision.

The play opens on Isobel Rabbidge as Catherine, standing alone in the dark. When the lights rise, what we see is a young person held together by very little; their melancholy is in their posture and anguish across their face. It’s a bold, wordless opening statement, and Rabbidge earns it. Christopher O’Shea’s Ken arrives to break the spell, and together they establish the housemate dynamic with warmth and comic ease, celebrating Kevin ’07, negotiating the competing distractions of World of Warcraft and compulsive ironing, gently circling each other’s wounds.

The neighbourhood assembles around them: the polished, self-contained Christina; the relentless Nancy with her Neighbourhood Watch clipboard; and Milova, whose dogged pursuit of friendship Ana meets with hostility. We see the collective loneliness, and we are frustrated by the missed connections.

 

 

Then Ana arrives in full. I found out later that Miriam Fagueret’s authentic and powerful performance is a stage debut! Her Ana is genuine, funny, heartbreaking and fierce, an eighty-year-old woman who has survived prisoner of war camps across three countries and is absolutely not about to be managed by anyone. Fagueret finds the dark comedy in Ana’s mistrust without ever softening what lies beneath it, and when the play shifts into its magical realist register; reaching back into wartime Hungary through gorgeous ensemble work, she anchors those sequences with a lived-in gravity that is quietly extraordinary.

The production’s best moments arrive when the cast moves as a collective. The ensemble, including Caitlin Clancy, Penny Day, Gabriel Jab’bar, Jack Stout and Luca Savini, create the bridge between past and present with a physical attentiveness that gives the magic realism its legitimacy. Being an opening session, there were a few stumbles; entirely forgivable, and in truth, the trust and responsiveness between Rabbidge and Fagueret in navigating those moments only deepened the sense of a tight-knit ensemble at work.

The second act darkens considerably. Catherine’s truth and Ana’s collide, and Rabbidge meets the challenge with a raw, heart-wrenching honesty. The chemistry between the two leads is the engine of the whole piece; you feel the unlikely love of this odd couple friendship, which makes its ruptures genuinely painful.

Neighbourhood Watch is a long piece, and it carries weighty themes: grief, isolation, trauma, the peculiar modern loneliness of living wall-to-wall with strangers. But it is lifted throughout by the warmth of its central relationship and by a company that clearly believes in what they’re making.

For the HSC students who will study this text, seeing it live is an extraordinary gift. For everyone else: this is exactly the kind of story that reminds you what theatre, and neighbourhoods, are actually for.

To book tickets to Neighbourhood Watch, please visit http://www.lanecovetheatrecompany.com.au.

Photographer: Paul Frontczak

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