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It’s A Wonderful Life

16/11/202516/11/2025 Cherelle Flemming🥈

It’s A Wonderful Life Rating

★★★★★

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As I walked into the Genesian Theatre, I was greeted with dazzling Christmas decorations and the soundtrack of ‘White Christmas.’ The festive mood spirited the eager audience into the magical world of Christmas, ready to feast upon The Genesian Theatre Company’s stage adaptation of the classic movie It’s A Wonderful Life.

In addition to the sparkling Christmas atmosphere, the theatre is absolutely gorgeous. After residing in their premises at Kent Street Sydney CBD for 70 years, the Genesian Theatre Company relocated to Rozelle in 2025. They have spectacularly renovated a 120-year-old heritage building with state of the art sound and lighting equipment and very comfortable seats (which were much appreciated.)

The story of It’s A Wonderful Life spans over three decades from the 1910s to 1945, depicting flashbacks of the main character George Bailey, presented by Oliver Macfadyen. Macfadyen is a brilliant lead, showing the greatest sincerity and humanity in his character. George is watched over by his guardian angel Clarissa, who is delightfully played by Natasha Todd. Todd was utterly angelic as she guided George Bailey into realising how meaningful and important his existence is, and that it truly is ‘A Wonderful Life.‘ Also faithfully by George’s side, is his adoring wife Mary Bailey, played by Amahlia Day. Day oozes poise and grace into her role and is a picture-perfect image of a 1940s housewife.

Working alongside George in his family loan business ‘Bailey Building and Loan’ is his Aunt Dilly. Aunt Dilly was presented by Karen Firmstone. Firmstone generated a heartfelt rendition and a highly enjoyable performance.

Paul Adderley excelled in his complex task of presenting two very contrasting characters: the first, Mr Gower, who is supportive and kind to George; and the other Mr Potter, a shrewd, heartless business who nearly causes the demise of our beloved George.

Dimitri Poulos and Genevieve Sky play the other angels who are guiding Clarissa on her own path to gain her wings. Their performances were steadfast, and yes, angelic and they showed great talent in portraying multiple characters throughout the play. Werrdan Khoury was another admirable actor who showed great diversity and comedy skill in his portrayal of multiple roles, the main role being Sam, the longstanding friend of George Bailey.

The staging was cleverly designed to immerse the audience into George Bailey’s business premises. Allocated entries and exits for his business effectively created its own world and space. Ethan Chan’s lighting design was flawless and atmospheric. His techniques were intuitive to the action and cleverly created a movie-like illusion. The music and sound effects were both flawless throughout the performance. Michael Schell utilised panning effects and clearly demonstrated the theatre’s quality sound equipment.

The 1946 Hollywood Christmas classic remains just as charming nearly 80 years later and the Genesian Theatre Company has honoured its long lineage. The director, Kathy Petrakis, has delivered a spectacular rendition of It’s A Wonderful Life and injected the hearts of the audience with love and Christmas cheer. I encourage you to step into the festive season and embrace this timeless, heartwarming classic. It’s a perfect way to kick off your Christmas festivities and will definitely fill your cup with warmth and Christmas spirit.

To book tickets to It’s A Wonderful Life , please visit https://genesiantheatre.com.au/events/its-a-wonderful-life/.

Photographer: HomePix

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Toe Tap and Sing – Side by Side by Sondheim

28/09/2025 Linda Lokhee🏆🥇🦉

Side By Side By Sondheim Rating

★★★★★

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Genesian Theatre Company’s “Side by Side by Sondheim” showcased music from one of the most influential minds of musical theatre, Stephen Sondheim. He had a gift of creating distinct characters, via his witty wordplay and catchy music and drawing you in their world. This was a toe-tapping and energetic evening of musical theatre celebration.

From their opening number “Comedy Tonight” (from “A Funny Thing Happened on the Way to the Forum” 1962), until the closing song, “Side by Side by Side” (from “Company” 1970), I was reminded of the golden age of music in movies and musicals; a period when soundtracks were filled with memorable, timeless songs that really captured the emotions and stories on stage. I was transported back to that era by watching and listening to the outstanding performances of the Genesian Theatre cast. Martin Hong was one of the featured soloists and his steady, smooth voice, easy-going mannerisms and smile portrayed a boyish crooner charm akin to Cary Grant. One of the highlights of the evening for me was his beautifully emotive performance of Losing My Mind (from “Follies”1971).

Director Declan Moore and Music Director Ben Fan created a strong sense of nostalgia on stage, a complete evening where patrons were surrounded by the sounds and styles that defined a special period in musical history. The included songs by Sondheim were in the form of a revue, a collection of songs from 1957 and spanning the next two decades, rather than a performance of one of this musicals with characters and a plot. As a result, the talented featured soloists were able to showcase their expertise in becoming several vastly different characters, often flipping from one character to another quickly.

An example of this is when Sarah Dolan brought us into the mind of an acutely panic stricken bride-to-be with her auctioneer-like, expert mile-a-minute performance in the song Getting Married Today (from “Company”). This harried performance contrasted with her gentle rendition of Little Lamb (from “Gypsy” 1959), where her character Louise is a young girl, singing a lonely song to her plush toys on her birthday.

Kimberly Yuzon had an impressive vocal range, showcasing control and versatility. Her clear and expressive voice allowed her to convey the emotive tone of the songs to the audience. One of my favourite songs was her rendition of Send in the Clowns (from “A Little Night Music”1973) which was performed with heartfelt emotion.

Elizabeth MacGregor was equally at ease on stage, showcasing a truly beautiful voice. Alongside her solo performances, she sang with harmonious clarity alongside her fellow cast members. Her flawlessly precise and tongue-twisting rendition of “The Boy From…” (from “The Mad Show” 1966) was unforgettable and had the audience laughing. It was remarkable how she managed to keep a straight face while delivering the chorus of this lyrically challenging song!

It was a joy to see the pianist, Lindsay Partridge accompanying the actors visible on-stage for the whole of the show, instead of being in the pit below the stage or behind a curtain. He performed each song flawlessly with heart, his deft fingers no doubt flying with expertise across the keys.

Barry Neilson played the Narrator, who introduced each song and gave the audience some background information on the origins of the song. Barry played different roles, and his expressions on stage were notable and amusing. Being a revue, there were many songs which involved the cast to sing together. It was a joy to watch their interactions with each other and they appeared to be having a lot of fun.

Catherine McKinnon’s costume design for the 5 cast members and pianist Lindsay Partridge had a red and black theme, a clever choice of duo simplicity as the glitz and sparkle of sequins shone like diamonds under the lights. The bright globes, and silver dropped curtains that lit up the stage was a nice touch reminiscent of those glamorous Hollywood times of the past, a fitting view from co-lighting designers Michael Schell and Cian Byrne.

The Genesian Theatre Company has crafted an experience that is not only entertaining but also a profoundly meaningful tribute to Mr Sondheim. If it were possible, I would recommend hosting a special evening where the audience could attend dressed in tuxedos and dazzling sequinned, sparkling gowns—it would be the perfect complement to this extraordinary show!

Side By Side By Sondheim is playing at The Genesian Theatre, 2b Gordon St, Rozelle.
Season: 26 September – 1 November 2025

Tickets can be purchased via the following link:
www.genesiantheatre.com.au/events/side-by-side-by-sondheim

To book tickets to Side By Side By Sondheim, please visit https://genesiantheatre.com.au/events/side-by-side-by-sondheim/.

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Moriarty: A New Sherlock Holmes Adventure

10/08/2025 Anastassia Gerakas🥈

Ken Ludwig’s Moriarty Rating

★★★★★

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It’s no mystery why audiences continue to be captivated by Sherlock Holmes—and the Genesian Theatre’s Australian premiere of Moriarty proves just how enduring the great detective’s appeal remains. Ken Ludwig’s whirlwind theatrical caper, directed with flair and finesse, is running now through September 13, and it is nothing short of an amateur theatre triumph.

Celebrating its 80th anniversary and settling into a brand-new venue, the Genesian Theatre Company has marked the milestone with a bold production choice. Moriarty, a complex, fast-paced, and highly stylised Holmes adventure, is no easy feat—but under the company’s deft touch, it sparkles with energy, intelligence, and theatrical magic.

The game is afoot once more with a plot that launches with the theft of incriminating letters from a Bohemian king and soon spirals into a high-stakes game of espionage, deception, and pursuit. Holmes and his ever-faithful companion Dr. Watson are drawn into an international chase to foil the shadowy machinations of Professor Moriarty. It’s classic Holmes—with a twist of modern theatrical ingenuity.

Eight actors take on over 20 roles, switching characters, accents, and costumes at breakneck speed. This ensemble approach keeps the momentum electric. Peter David Allison shines as Dr. Watson, anchoring the narrative with warmth, wit, and humility. His storytelling binds the chaotic threads of the play into a coherent and compelling whole. Meanwhile, Susan Jordan is a revelation—slipping effortlessly between diverse characters, her skillful transformations and vocal dexterity bringing flair and creativity to every scene.

The technical elements elevate the experience further. From the cleverly used faceless puppets to richly detailed costumes, from crisp sound effects to atmospheric lighting that subtly underscores tension and intrigue, the backstage team delivers period authenticity with theatrical verve.

The production’s brisk pacing—driven by rapid scene changes, constant movement, and tightly choreographed action—keeps the audience on edge. Ken Ludwig’s script is sharp and respectful of Holmes canon while injecting just enough levity to balance the suspense. It’s a treat for both diehard fans and newcomers alike.

Moriarty at the Genesian Theatre is a testament to what passionate theatre-makers can achieve. It’s a love letter to classic detective stories, brought to life with heart, humour, and remarkable creativity.

The verdict? Elementary, dear reader: a must-see.

To book tickets to Ken Ludwig’s Moriarty, please visit https://genesiantheatre.com.au/events/moriarty/.

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The Lady Vanishes

24/06/2025 Anastassia Gerakas🥈

The Lady Vanishes Rating

★★★★★

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Celebrating its 80th year in style and in a brand-new theatre space, the Genesian Theatre Company presents – The Lady Vanishes, adapted by Derek Webb from the novel on which the Alfred Hitchcock’s classic 1938 film was based.

This production is a nostalgic and atmospheric journey back to a time of intrigue and stiff upper lips – all aboard a European train where one woman vanishes and everyone seems to be hiding something.

The ingenuity of the staging cannot be overstated. The design team masterfully evokes the confined, shifting world of a train carriage through clever use of sliding compartment doors and evocative soundscapes. Seamlessly moving the action from the dining car to corridor to first class, the production invites the audience to feel like passengers themselves, peering down corridors and eavesdropping on hushed conversations. This immersive approach is one of the production’s strongest assets, providing a dynamic sense of movement and urgency.

The story itself remains a compelling whodunit, as Iris Carr – on her journey home – becomes increasingly frantic when a fellow passenger, the governess Miss Froy, mysteriously disappears. What follows is a delightful unraveling of truth and deception, as each character’s potential motive for denial (or deceit) is revealed. The play cleverly engages the audience, turning us into sleuths trying to piece together the puzzle.

Tonally, however, the production feels somewhat uneven. Some actors leaned heavily into broad caricature, while others remained grounded in more traditional realism. This dichotomy occasionally pulled focus from the central tension of the plot.

That said, several performances stood out. The sister duo Evelyn and Rose brought genuine laughs with their dry wit and impeccable timing, while Mrs Barnes was a wonderfully nervous delight. In the central role, Iris Carr shone brightest when allowed to play her role with sincerity and emotional depth.

The Lady Vanishes is a joy to watch and the Genesian’s new theatre space is a fitting stage for this lively, imaginative production – a celebration of the company’s legacy and a testament to the enduring power of classic storytelling. Here is to 80 more years to come!

To book tickets to The Lady Vanishes, please visit https://www.genesiantheatre.com.au/.

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Spread the word on your favourite platform!

Spread the word on your favourite platform!

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