Horse Girls

Horse Girls

Horse Girls Rating

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5

Horse Girls follows a group of tweens who make up the passionate and prestigious Lady Jean Ladies, a dedicated group to all things horses. Lead by the aggressive alpha dog (or horse) Ashleigh (played by Tamzen Hayes) this club, bursting with different personalities, holds their regular weekly meeting that quickly descends in chaotic madness.

Horse girls is a dramatic and fast paced dark comedy, with sharp writing (by Jenny Rachel Weiner) and brilliantly choreographed and directed physical humour (direction by Eugenie Muggleton). This show is camp and silly, a perfect morsel of female adolescences wrapped in a violent twist. The audience is introduced to the club by Camille (Candice Leask), the promiscuous caricature of the group, through the eyes of her newcomer cousin Trish (Mish Keating). Camille quickly explains each girls’ role in the club to Trish, acting as a character guide for the audience.

The Lady Jean Ladies are stupid as only teen girls can be, leading to hilarity and at times surprising depth and gravitas. It was an interesting experience watching young ladies be so naïve and silly, but in that naivety, they were able to express genuine and universal feelings of grief and loneliness. Weiner was able to capture a glimpse of what we all experience through the outrageously loud camp concepts of this show.

 

 

The chemistry and social hierarchy within this ensemble is perfectly balanced. The balance of the relationships allows for on point comedic timing and delivery, cementing the cringe core status of this show. This peaks during the horse song, which, oh wow, contained choreography that teenage me would be so jealous and proud of. The performance in its entirety was acutely accurate and hilarious.

In an attempt to calm the group, the girls try to reach Anne Romney for advice. After the show I conducted my own search on google, it was confirmed that this is the wife of Massachusetts Governor Mitt Romney, and a big equestrian enthusiast. The girls were unsuccessful in contacting Anne, and as a result their connections with each other proceeded to quickly break down into violent discourse. The teetering balance of power ruptured, causing chasms in the group.

Horse Girls embodied the savage way teen girls love and hate. The Lady Jean Ladies Club reflected the passion of my adolescence, with a smattering more drama and violence. This show got audiences continuously laughing for the first 80% of the show, and mouths agape for the final 20%. The passion of the cast was genuine and infectious, I feel like I now need to be careful how I approach any horse enthusiasts.

To book tickets to Horse Girls, please visit https://www.theatreworks.org.au/2025/horse-girls.

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A Bold and Breathtaking Culmination of Art Forms

BiPolar Express

BiPolar Express Rating

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6

As a community theatre director, I often stress the importance of teamwork and that no player reaches their best without the shared journey and uplifting of every member of the cast, often to eye rolls. However, Bipolar Express is a gleaming example of a powerful ensemble who are the backbone and heart of the story. It’s only now as I sit down to write this, having just read the program, that I ascertained how many creatives were among this ensemble cast including choreographer, Avalon Ormiston, and producer, Phaedra Brown, which doesn’t surprise me considering what a stellar example of full-bodied togetherness that this piece is.

Anton played by writer, Bianca Yeung, is on a train to meet an estranged friend when she has a manic episode. The train is depicted with a simple yet vibrant set consisting of three double floodlights, and cane chairs with the iconic Sydney Transit blue squiggly velvet seats. Anton is desperately trying to remain upright as she sends voice-notes to friend, Mish, not knowing if Mish will be meeting her at the other end.

The ensemble weave and move around her, engaging in conversations that begin as small talk and progress into more interesting musings. Anton has a bouquet of orange flowers that become more disheveled as she unravels. They are the motif that anchors the passage of time. The set is changed with rhythm and poetry by the actors throughout the show.

 

 

The story moves between the present train delay and the past story of Mish and Anton. We discover that Mish was the keeper of Anton’s secrets, she was the one with the directives for what to do and when, and she was often the keeper of this part of Anton. We see the complications of these assigned roles between the two, and how it impacts their friendship over time.

To describe and adequately give voice and understanding to a complex mental health diagnosis such as Bipolar would be incredibly difficult in words, that is where the powerful art of movement and dance breathtakingly fill in some of those gaps. For example; the ensemble close in around Anton during a portrayal of exhaustion. She tries to creep out, reach out and even tries to free Mish in these moments, but she is unheard as she is swallowed by “The Others”.

Sound and light design take a huge amount of credit as a device in this piece as well. We are stagnant and trapped along with Anton in the darkness and we are pulled into the jubilance of the bright highs punctuated by poppy, boppy, music.

It is abundantly clear this piece has involved all creatives building, supporting and creating deep intimacy, which in turn made it inevitable that the audience become deeply invested and intertwined.

It’s a bold and breath-taking culmination of art forms that does great justice to shining some light on an important lived experience. I highly recommend supporting this work.

To book tickets to BiPolar Express, please visit https://sydneyfringe.com/events/bipolar-express/.

Photographer: Nat Cartney

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Selkie

Selkie

Selkie Rating

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Finn O’Branagáin’s play, Selkie, uses old Orkney mythology to explore the important themes of domestic violence and coercive control. A Selkie is a creature that lives in the sea in the form of a seal, coming to land and shedding their seal skin to become attractive and seductive humans.

Rónnad (Celeste Cortez Davis) finds herself naked on the beach after losing her seal skin, trapping her on land. She is ‘rescued’ by Séan (Josh Hammond), who takes her in to his home, gives her clothing, and promises to help find her skin. There’s no actual nudity in the play, and it isn’t needed, the idea of a Selkie without her seal skin effectively achieved in other ways.

Trapped in Séan’s care, the two develop an awkward relationship, just like Selkie’s of mythology who are sometimes tricked into marrying humans. Rónnad tries her best to assimilate while missing her life of freedom in the sea, longing to escape. Tensions rise as she fails to meet Séan’s expectations, who both claims to love her idiosyncrasies, but is also angered by them. The symbolism is beautifully woven between real relationships born of entrapment and the Celtic mythology.

 

 

It was interesting how there was absolutely no chemistry between the pair. Words of love and affection felt empty and hollow, demonstrating the lack of real connection between the couple despite outward behaviour. While Séan seems infatuated by the idea of Rónnad, he fails to connect with her true self. Rónnad herself struggles to conform, trapped on the land, trying her best to love Séan without losing her own identity. Struggles often experienced by those who suffer abusive relationships.

The play felt a bit too short and could have used a few more scenes to really develop both the dysfunctional relationship and the growing tension between the pair. The lack of time smothered the play’s ability to escalate the emotional abuse more subtly and effectively.

The performances were strong, and I really enjoyed the creative directing in telling the story with minimal set design. I was drawn into their world thanks to well-designed lighting and audio effects. The choice of music to induce emotion was disappointing however, and could have been more effective without lyrics.

Selkie is currently playing at The Old Fitz Theatre as part of the Sydney Fringe Festival.

To book tickets to Selkie, please visit https://www.oldfitztheatre.com.au/selkie.

Photographer: Robert Miniter

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

Stranger Sings! A Parody Musical

Stranger Sings! A Parody Musical Rating

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3

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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