Bright Star – A Bluegrass Musical

Bright Star - A Bluegrass Musical

Bright Star – A Bluegrass Musical Rating

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The spectacular Bright Star musical presented by Sport For Jove Theatre Company, in association with Hayes Theatre Co, is a spellbinding must-see. Co-Directed by Miranda Middleton and Damien Ryan, Musical Direction by Alec Steedman and produced by Christopher Tomkinson and Isabella Milkovitsch, this creative team – along with their cast – have created an absolute masterpiece.

The magnificent cast left me in awe of their radiating talent. In the theatre world we talk about “triple-threat” performers who can sing, dance, and act. Well, this sensational cast raised the bar adding instrumental skills into the mix-quadruple threats!

This highly acclaimed production transports audiences to the 1920s and ‘40s in the American South. Steve Martin and Edie Brickell were inspired to write Bright Star after discovering an old newspaper article about the “Iron Mountain Baby” – an incredible true story of a baby’s miraculous survival after being thrown from a moving train inside a suitcase. Rescued and adopted by an elderly couple, this miraculous story sparked a reimagining that became this heartwarming, bittersweet tale.

Now to the music: the score is brilliant-one you’ll want to add to your playlist. The powerful bluegrass songs resonate with heartfelt emotion, striking the audience with every note. Congratulations to the Musical Director, Alec Steedman on an outstanding job of directing this talented cast to deliver an exhilarating performance. The impeccable harmonies and the all-round musicianship of the singers and instrumentalists were absolutely inspirational.

 

 

Hannah McInerney is sensational in the lead role of Alice Murphy. She took my breath away from the opening number with her angelic vocals, rich with Southern warmth. Her playful, engaging acting was both charming and humorous yet deeply moving in the poignant moments. At times, I was wiping away tears; at others, laughing in hysterics. Hannah kept me captivated throughout her intoxicating performance.

Kaya Byrne gave an electric performance as the charismatic Jimmy Ray. Kaya sings, plays guitar and harmonica with utmost professionalism, and conveys his character’s heartbreak and anguish with depth and honesty. Kaya’s emotive performance was deeply impactful, leaving my heart in my throat.

Cameron Bajraktarevic-Hayward is utterly delightful as Billy Cane. Expertly playing the cello during the show, he delivered the role with skill, energy and heart. His agile dance moves and magnetic stage presence enhanced an already brilliant performance.

Deirdre Khoo shines as Lucy, flawlessly showcasing her talents on accordion, vocals, dance and acting. Her show-stopping moves illuminated Shannon Burns’ masterful choreography. Deidre, alongside Jack Green who played the comedic Daryl, brought plenty of laugh-out-loud moments which kept the audience well entertained. Jack Green also played the sincere Daddy Cane, a contrasting character full of emotional depth and sincerity.

Genevieve Goldman, as the comedic relief character Margo,brought dynamic energy to the story. With fabulous comedic timing, striking vocals and impressive acting, Genevieve provided an engaging performance.

As the villainous Mayor, Seán van Doornum was remarkable. Portraying a detestable character convincingly can be difficult, but his superb performance captured the proud, unfeeling, and truly evil nature of the role.

Katrina Retallick and Rupert Reid as Mama and Daddy Murphy were a powerhouse duo. Katrina’s stunning vocals, especially her harmonies with Hannah, were unforgettable. Her raw intensity in the harrowing scenes amplified the emotional impact. Rupert’s portrayal of an uncompromising father, weighed down by regret, was equally striking—his natural, convincing delivery perfectly suited the show’s era.

Bright Star will make you laugh, cry and fall in love with its story and musical score. This impactful production, with its incredible stellar cast, is not to be missed. I am certain you will fall in love with it, just as I have.

To book tickets to Bright Star – A Bluegrass Musical, please visit https://www.sportforjove.com.au/bright-star-2025.

Photographer: Robert Catto

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Once On This Island.. You’ll Never Want To Leave

Once On This Island

Once On This Island Rating

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There’s something magical about Once on this Island A Musical. Curveball Creative with Hayes Theatre Company whisked me away on an 80 minute meander into a visually beautiful and enchanting cultural retelling of ‘one small girl’ (the name of the second song performed), Ti Moune.

Relative newcomer to the stage Thalia Osecueda Santos absolutely shines as Ti Moune. Her performance as a little orphan captured my heart at the beginning of the show. Portraying the young adult Ti Moune, Thalia’s singing and expressive emotions showed an innocent and carefree character full of hope, on the cusp of womanhood, bursting with excitement to start her life. One standout scene was when she was asked to dance by Andrea (Chaya Ocampo) and to the delight and encouragement from the audience, her beat and movement to the music showed a dynamic traditional islander dance.

Leah Howard’s choreography and musical director Dylan Pollard’s work throughout the musical was truly captivating. The whole cast moved together in song and dance seamlessly. Even when they were onstage and changing the set, the actors made it part of the story. I particularly adored the choreography and acting when some characters were part of nature – watch out for the birds and frogs in different scenes, which garnered some laughs.

Rita Naidu’s costume design for Once On This Island A Musical was vibrant and creative. In the retelling of the story of Ti Moune and her search for her love Daniel (Alexander Tye), there was an incredible range of varied and colourful characters. The four gods, Agwe (Googoorewon Knox), Asaka (Paula Parore), Erzulie (Cypriana Singh) and Papa Ge (Rebecca Verrier) were brilliant, performing together to create quite the authoritative presence of the overseeing powers-that-be, and separately in their roles that pulled the audience into their orbit. Rebecca Verrier’s sly Demon of Death was frightening at times!

 

 

Ti Moune was an orphan who was taken in after being seen clinging to a tree after a dreadful storm by an elderly couple, Mama Euralie and Tonton Julian. Mama Euralie, played with a huge heart and a matching commanding voice by Zahrah Andrews, was the ever-protective Mama and Sione Mafi Latu portrayed Tonton Julian with a gentle and loving presence.

After seeing Daniel and caring for him after a car accident, she falls deeply in love. There is a problem of the two coming from vastly different classes. This raises boundaries and questions of following the heart, or following family traditions. Bash Nelson (as Armand), Paul Leandre Escorrido and Sara Camara are strong supporting cast members.

Be on the lookout for a history lesson (the backstory of Daniel’s family) told in a most creative way, using shadows and narrative. Kudos to Alexander Tye and Bash Nelson in these scenes. It was almost a nod to shadow puppetry and this added a visual element that was very original and very well performed.

Director Brittanie Shipway, amongst other things, has guided the cast of twelve into sounding like a cast of twenty, with the band onstage at the back, heralding a clear and beautiful accompaniment to the actors’ vocals.

Once On This Island A Musical was a fast moving feast for the eyes and ears, best told as it is with no interval to distrupt the flow. The book and lyrics are by Lynn Ahrens and the music by Stephen Flaherty. This is a fable which imparts messages of love, belonging, culture and connection to our land and gods – I highly recommend seeing this musical and having your heart travel with Ti Moune and her story.

Once On This Island A Musical is playing at The Hayes Theatre 19 Greenknowe Ave, Potts Point
Season run: 2 August – 31 August 2025.
Tickets: $99
www.hayestheatre.com.au/event/once-on-this-island

To book tickets to Once On This Island, please visit https://hayestheatre.com.au/event/once-on-this-island/.

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Sugar Might Be Addictive…

Sugar

Sugar Rating

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Wow! What a yummy treat this cabaret was. I ate it up and didn’t want it to end! Tomàš Kantor sucked us into the story from the get-go with clever use of current pop bangers that we all know, and love. From Chappell Roan to Gaga, the Sugababes and TikTok hits, the music always encapsulated the story in an interesting and unique way. The rollercoaster of emotions throughout was relatable and we were rooting for the very lovable Tomàš as Sugar. Honestly, in this economy, who hasn’t contemplated taking the “easy way out” and becoming a sex worker after watching Pretty Woman. Especially easy to relate to if you’ve ever been a struggling uni student living in a share house.

Tomàš performance of this (as far as I can tell), true story, was powerful, fun and playful. I loved the use of the poppiest of songs arranged in a cabaret format. I died when Prada played. They gave us clever costume, prop and set use, great vocals, dance breaks and played multiple instruments. What a multi-talented and intelligent performer! The characters were all interesting, well-defined and had a point of view. The story was clear. I feel as if this is a show you could see many times and notice new clever intricacies each time. Tomàš and Bullet Heart Club (Ro Bright – show writer & Kitan Petkovski – director) deserve high praise for this!

 

 

Don’t be distracted by the sparkles though. Not only was it funny, but there were poignant moments as well. These included some insight into why sex work is often not “easy money.” This is a job which requires incredible sacrifice of self and often places the worker into perilous personal situations where they have no power or recourse for wrongs committed. This window into sugar-babying throws light on some inherent class divides and the power imbalance of these transactional relationships. There was subtle commentary on internalised queerphobia too, and I had goosebumps when they started singing the last song.

The show included considerable (optional) audience participation and use of house lights which made for a very immersive theatre experience. This hooked us in for the ride and made us laugh. Word of warning, if you are uncomfortable with descriptions or portrayals of sex on stage this is maybe not the show for you. However, those who are down, you are in for a thrilling collective release. I was unsure how the audience would react at the Hayes, but they loved it! Tomàš is so charismatic and charming that we feel as if we are a friend getting the tea.

Ultimately, such a fun journey, I laughed and sympathised with Sugar. I would heartily recommend going to see Sugar if you get the chance. This debut cabaret has already won multiple awards, and rightly so, Tomàš is a talent to watch. Look out Edinburgh…

To book tickets to Sugar, please visit http://hayestheatre.com.au/event/sugar/.

Photographer: James Reiser

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Showgirl Grit, Cabaret Wit: The Soul of a Siren

Confessions of a Drama Queen

Confessions of a Drama Queen Rating

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This is burlesque with bite. I walked into Confessions of a Drama Queen expecting fishnets and feathers, but what I got was something far bolder: a woman reclaiming her life, body, and sexuality, on her own terms and in her own glorious style. Yes, it’s sexy but also soulful, self-aware, and delightfully risque; equal parts sparkle and steel.

Behind the lashes, lingerie and big belt vocals of Songbird Siren is Megan Walshe. A seasoned Sydney burlesque bombshell who’s earned her stripes wowing crowds from sultry lounges to cruise ship catwalks. She was also a finalist in the MX Burlesque NSW 2024 competition, with the scars and strut to prove it.

The structure of this one-hour show is deceptively loose and fanciful; a lively blend of skits, strips, vaudeville flair, memoir melodies, and clowning, all seamlessly stitched together. Occasionally, live piano flirts with a syncopated rhythm, adding a wink to the unfolding scenes. Songbird leads us through a raucous, rhinestone-strewn maze of glamour, heartbreak, and hilarity. The journey is a playful yet pointed provocation.

Confessions of a Drama Queen isn’t just cabaret. It’s a backstage pass to the gritty reality of performance life in Sydney through the eyes of a kick arse woman who spins sugar from the sour. It’s a tale of grit and staying power, of clutching your calling tight even when the world buries it beneath bills, rejections, and relentless grind. So while you get the naughty tassels and tease galore, you’ll also be caught in the sweat and stamina.

 

 

There’s something deeply compelling and ironically voyeuristic in our fascination with what goes on behind the scenes: the heartbreak and the side hustles that fund the dream. While recounting her 27 no-skill jobs, from fairy floss spinner to Macca’s drive-through worker, she performs a fabulous ABBA medley that turns her struggle into something defiant, delivered with flair and self-deprecating humour.

Two clowns (Alexis Hutchinson and Carla Field) provided sharply timed satire as her assistants, and a third silent-yet-essential presence, Jared Jekyll, quietly and comically tidied the trail of costumes and props left in her wake. Together, they conjure a world of slapstick and sincerity with pitch-perfect absurdity whilst effortlessly layering the commentary onto the main story.

Throughout the show, Songbird unfolded her personas much like Gypsy Rose Lee’s life, marked by reinvention and resilience behind the glamour. From desperate musical theatre graduate to cheesy cruise ship numbers, then a very clever slow transition from strip club kitten to full-blown Showgirl Glamazon. This final form shimmered with self-possession. Her performance of “Never Smile at a Crocodile” was a standout. A song I’d never thought much of became, in her hands, a metaphor for staying away from those who diminish you or refuse to see you. She sang it with such tender poise and knowing, it struck a quiet, powerful chord.

Hayes Theatre Co has carved a reputation as Sydney’s home for bold new work where musicals get gutsy and cabaret sharpens its edge. Their Winter Cabaret Season champions fearless voices in an intimate jewel box that consistently punches well above its weight, giving Sydney’s most adventurous performances the audience they deserve.

Confessions of a Drama Queen is less a performance and more a full-body reveal; a sparkle-soaked chronicle of survival and sheer showbiz grit. Equal parts showstopper, confessional, and comeback story, it’s the backstage juice we’re all secretly dying to hear. Don’t miss it; sass up, sparkle on, and get ready for a truth-telling strip with heart.

To book tickets to Confessions of a Drama Queen, please visit https://hayestheatre.com.au/event/confessions-of-a-drama-queen/.

Photographer: @Apart.Photography

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