Faith Jessel - Whats The Show

No Love Songs: Poignant And Impactful

20 March 2025 Cherelle

No Love Songs Rating

★★★★★

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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/.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Cherelle

Every Note Speaks What Words Can’t

15 March 2025 Faith Jessel

No Love Songs Rating

★★★★★

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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/.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Faith Jessel

Gold, Gods, and Glory: Discovering the Inca Empire at the Australian

3 March 2025 Faith Jessel

MachuPicchu Rating

★★★★★

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Stepping into the Australian Museum’s Machu Picchu and the Golden Empires of Peru exhibition feels like crossing a threshold into another time—one brimming with gold-laden rituals, powerful gods, and a civilisation both mystical and masterful. More than just a collection of artefacts, this exhibition weaves storytelling and sensory experiences, immersing visitors in the grandeur and mystery of the Inca Empire and Andean cultures.

Machu Picchu, the ancient Inca city perched high in the Andes, has fascinated history enthusiasts and travellers alike for centuries. The ruins of this once-thriving civilisation provide a window into a world that feels both distant and timeless, offering an intriguing blend of the known and the mysterious. This exhibition provides a unique opportunity to explore the history and culture of the Inca Empire, allowing visitors to gain a deeper understanding of its enigmatic world.

Rather than a traditional exhibition, this experience unfolds like a theatrical production, with each room revealing a new act in the story of the Inca civilisation. One of its strongest elements is the narrative structure, which, like a well-directed play, uses light, sound, and pacing to draw visitors into the story. Moody lighting, atmospheric soundscapes, and interactive displays combine to create a powerful sensory journey. This approach makes each artefact feel integral to the grand drama. Visitors don’t just observe—they step into the heart of ancient Inca culture, moving through curated displays that highlight both the grandeur of Inca society and the deep spirituality woven into its everyday life.

Gold, symbolising the sun, and silver, representing the moon, were central to Inca culture and both were seen as divine. The exhibition’s stunning jewellery and ceremonial garb beautifully illustrate the Inca’s reverence for these precious metals, which were believed to guide the deceased into the afterlife. Among the highlights is a gold necklace featuring tiny frogs, each intricately created to showcase the beauty and precision of Inca craftsmanship.

A standout moment is the sacrificial ceremony display, handled with care and respect. Through evocative art, narration, lighting, and artefacts, it delves into this often-misunderstood aspect of Inca spirituality, while also drawing connections to modern-day rituals that echo these ancient practices. The warrior section further enriches this narrative, using video art and historical artefacts to bring the myths of the Inca to life.

The interactive journey of Ai Apaec offers a visual feast, with finely crafted drinking spouts symbolising the Inca’s spiritual connection to the divine and their understanding of life, nature, and the cosmos. In contrast, a section on Inca erotic artefacts provides a straightforward exploration of this aspect of their society, presented with historical integrity.

The Machu Picchu room offers a concise yet informative look at the iconic site through photographs and text. While it focuses more on historical context than on artefacts from the location, it serves as a thoughtful conclusion to the exhibition’s broader significance. Given the immersive storytelling and rich cultural displays, this section complements the experience rather than defining it.

Throughout this journey, visitors can use an audio guide, which enhances the experience with additional insights. Given the level of detail in the displays, this is highly recommended for those wanting to delve deeper into Inca history. For an add-on fee, you can experience a cutting-edge virtual reality visit to Machu Picchu, where you’ll see, hear, and feel the mysterious city in the sky.

The Australian Museum consistently excels at curating exhibitions that are immersive and educational, bringing history to life in ways that captivate audiences of all ages. Machu Picchu and the Golden Empires of Peru is a shining example of this, demonstrating the power of storytelling through historical displays that seamlessly blend education, emotion, and artistry into an unforgettable experience.

With ticket prices covering entry to the rest of the museum, this exhibition is more than worth the visit. Whether you’re drawn to the mystery of lost civilisations or simply appreciate exquisite craftsmanship, it brings the legacy of the Inca Empire and Andean cultures to life in an immersive and profoundly meaningful way.

To book tickets to MachuPicchu, please visit https://australian.museum/exhibition/machu-picchu/

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Faith Jessel

Between Past and Present: A Slow-Burn to Nowhere

9 February 2025 Faith Jessel

Three Sisters Rating

★★★★★

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If procrastination were an art form, the Prozorov sisters would be its masters. Their existential crisis is a painful blend of paralysing indecision and brutal self-reproach—an expression of how exasperating people become when deprived of a meaningful purpose. How many of us hover in limbo, caught between desire and action, never quite taking the leap?

Olga, Masha, and Irina, three sisters trapped in a small town, yearn for the excitement and fulfilment they believe awaits them in Moscow. As they navigate their personal crises, unfulfilled desires, and complex relationships, their dreams remain elusive. Chekhov’s audiences either revel in his brilliance, grow frustrated by the lack of resolution, or sit bewildered- precisely his point.

Any rewrite of Three Sisters is a formidable feat, one that few would dare take on, as its success hinges entirely on execution. Modernising a classic is a delicate balance between reinvention and irrelevance—remove too much of its original context, and you risk transforming a masterpiece into a hollow echo of its former self.

Writer/Director Victor Kalka’s takes on both challenges with Three Sisters at the Flight Path Theatre. He offers an almost claustrophobic platform, where every moment of inaction feels magnified and impossible to escape. The setting is intentionally unclear, blending past and present elements with a mishmash of creative confusion. No choice is fully realised, leaving the audience adrift, unsure where to anchor an emotional or intellectual connection. Chekhov loyalists may find it frustrating, but not in a Chekhovian way.

Three Sisters is deeply rooted in themes of societal constraints, particularly on women, but without the cultural context of Chekhov’s time, their longing for Moscow feels more like reluctance than tragedy. The Russian references remain, yet it feels distinctly un-Russian, as the cast all speak with Aussie accents and engage in very Aussie behaviours. More like a warped, self-flagellating version of Don’s Party, where personal crises and relationship breakdowns unfold amidst a backdrop of awkwardness and denial.

So, while Kalka offers a fresh perspective and some compelling tension, the conundrum ultimately falls short in achieving continuity and a cohesive identity, blurring its sense of direction. A few striking examples of dissonance is the use of Boney M’s ‘Moscow’. The upbeat, disco rhythm playing before the show and during the bows clashes with the quiet desperation of the characters. Plot points are also muddied, such as Olga having the freedom to be financially independent and be a school principal, yet the doctor kills someone by prescribing the wrong medication and faces no legal consequences, highlighting the inconsistency in tone and conflict. As a result, the themes of longing and discontent fail to establish any hard stakes or resonate effectively, diluting the emotional core of the story.

Still, the cast manages to engage with the material with conviction, conveying the emotional exhaustion and deep dissatisfaction of the characters. While not every performance stands out equally, several actors capture the depth and nuance of their roles with skill.

Meg Bennetts, Nicola Denton, and Sarah Greenwood bring a steady, understated energy to the sisters, slowly building the quiet tensions and unspoken desires that define them. Greenwood’s scenes with an intense Alex Bryant-Smith are particularly compelling, producing the most emotional resonance, their chemistry grounding the performance.

Matthew Abotomey as the sisters’ hapless brother Andrei, makes the character likeable, despite some brutally honest lines, finding a way to be relatable. Joseph Tanti, as Irina’s suitor, brings warmth and subtle charm to what could otherwise be a passive role, creating a welcome contrast to the otherwise fraught atmosphere.

Set in a time far removed from 1901 Russia, where women can self-actualise beyond marriage or spinsterhood, we’re ultimately left wondering why the sisters persist in self-loathing and entrapment instead of embracing self-examination. The absence of clear obstacles creates a disconnect, ironically mirroring the sisters’ doubt and lack of coherence. In Chekhov’s original, they’re trapped by both societal expectations and their own emotional paralysis – a defining characteristic of their struggle that feels unfounded here, where social pressures are now largely absent.

The key to a modern adaptation is balancing fidelity to the original with a fresh lens that reveals its enduring relevance. Yet, this production’s purpose gets lost in translation. Perhaps that was Kalka’s intent, but if so, it doesn’t quite reach Moscow.

See https://www.flightpaththeatre.org/whats-on/three-sisters for further details

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Faith Jessel

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