Next Fall – Unmissable!

Next Fall

Next Fall Rating

★★★★★

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The best plays are ones which sit in my mind, long after the curtain call. The special blend of plays that, the longer they percolate and brew, they deepen. Not only in colour but in depth and substance. This is “Next Fall”, a Boyslikeme Productions play, on now at The Eternity Playhouse in Darlinghurst. Have I really compared “Next Fall” to coffee? Yes, I have – and believe me, I love my coffee strong which is what this play is! “Next Fall”, written by Geoffrey Nauffts, is a layered and emotional piece of theatre and had me thinking not only about the physical aspects of the play, but also about important current themes revolving around love, religion and societal and family expectations.

At the heart of it, is a love story between a couple. Adam and Luke are gay, and they’re in love. If only Life was that harmonious. Set in 2009 in New York City, their relationship unfolds, alternating between the present and flashback scenes of the preceding five years of their relationship. In the opening scene, Holly (Natasha Vickory) and Brandon (Jason Jeffreries) are in a hospital waiting room. They don’t appear to be too familiar or comfortable with each other. Arlene (Sophie
Gregg) enters with a whirlwind of chatter.

After some time, the audience experiences Adam (Luke Jacobz) and Luke (Conor Fogarty) falling in love, moving in together and their friendship with Holly, a candle shop owner and Adam’s boss. The age gap between the two doesn’t affect them (Adam is older than Luke) but there are two other differences which divide the pair. Luke is deeply religious, and consequently not open and honest with his family about his relationship with Adam. And he is not honest to himself about living his own truth and being comfortable in his own sexuality.

There’s one particular scene which stands out to illustrate this. It’s a simple scene, with Adam and Luke joking around in their apartment. Jacobz and Fogarty show the easiness of their characters, and there is beauty in their connection. They could be any loved up couple in the world. It all crumbles in an instant when Adam, who is agnostic, says one line, delivered by Jacobz with a heartbreaking plea, “I want you to love me more than Him.” The way that Fogarty portrays Luke in the following moment was perfection, and his silence cut like a knife. To me, this was a poignant moment and one which had less to do with sexual orientation, and more to do with faith and upbringing in the church. In any relationship, companionship with religious beliefs will lead to a happily ever after, in the “forever after”.

 

The play regularly transitions between past and present time periods, the latter in a hospital waiting room. This is indicated by a disconcerting and purposeful electric buzz accompanying a quick flash of light. At times this seemed disjointed and a even especially after a comedic scene. Kudos to set and lighting designer Casey Moon-Watten for creating this delineation between the past and shocking present.

In scenes where Adam comes face-to-face with Luke’s parents, Arlene and Butch (played by Gerard Carroll), Jacobz’ masterful performance swings between his character being respectful and unsure, to building up to an explosive scene, which stands out as a powerful moment. Carroll delivers a compelling performance as Butch, embodying a stern, traditional man of faith with conviction and a steady dose of homophobia. Another encounter with Butch and Luke deepens the emotional complexity of the story, highlighting Luke’s internal struggle and the bravery required to reveal his true self to his father. The scene poignantly explores the universal theme of seeking parental acceptance and approval, an enduring desire that persists regardless of age.

“Next Fall” skilfully weaves comedic moments throughout the script with witty dialogue lightening the play’s more serious subject matter. The cast embraces this, notably in one scene where Adam finds himself in his apartment alone with Butch. Knowing that Butch is unaware that he is Luke’s partner, yet wanting to be polite and a good host, he offers Butch a cup of tea. The two men end up discussing the ‘dainty’ teacups, with Adam offering a sweetener in the cutest ever honey bear
pot. The campuses of this scene was golden and had the audience laughing at the clearly uncomfortable Adam.

Producer and Director Darrin Redgate has brought together a talented cast and crew, delivering an insightful blend of drama, humour and pure heartfelt emotion that will leave audiences with a play to remember and think about, long after the curtain falls. “Next Fall” offers a poignant reflection on society’s ongoing struggle for acceptance and harmony. Despite being set 27 years ago, Luke’s reluctance to come out to his parents and the internal pressures he faces within his relationship with Adam, mirror fractures that still exist in today’s social climate. It is both interesting and disheartening for me to see how little progress has been made. I hope that it won’t take another 27 years for society to embrace the true essence of love and kindness, no matter who you are, who you believe in and who you love.

“Next Fall” is unmissable – bring a friend!
Season run: 22 October – 7 November 2026
Eternity Playhouse 39 Burton St Darlinghurst
Run time: 135 minutes with a 20 minute interval
Tickets: www.nextfall.com.au

To book tickets to Next Fall, please visit https://www.nextfall.com.au/.

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Show Up! And Be Entertained By Surprise Acts

Show Up!

Show Up! Rating

★★★★★

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1

“Show Up!” is a variety-style of entertainment show, which reminded me of a nostalgic live taping which was then beamed into our living rooms via the television. The act would be filmed, with the camera now and again panning to the audience to see their reactions, and then back to the act. When that finished, an interview with the performer would happen. Then in the next episode, we would see different performers and acts, introduced by the host. “Show Up!” may have been intended to fill the live event space with their format similar to this, and had been billed as having “great performers, great stories, great surprises and a room filled with people willing to embrace the unexpected”. It is a monthly event, with different guests from across music, theatre, comedy, cabaret, circus and dance disciplines.

Created, produced, and hosted by versatile Australian entertainer Nick Hardcastle, this show offers a platform for both established and emerging artists to perform. One of its original features is the element of surprise, as the audience never knows in advance which act they will see. This format is especially appealing to those who enjoy spontaneity and discovering new talent, as well as fans who might be delighted to catch a performance by one of their favourite Australian artists or comedians. An interview with each performer after their acts adds another layer to the show.

I attended the first show at The Darling Quarter Theatre in Sydney on the 19 October. “Show Up!”featured performances from the “Dance Nikki Webster” dance studio, a burlesque act, a comedic musical act, solo songs and a strong and heartfelt 20th Anniversary tribute to one of Australia’s well known and loved musicals, “Priscilla, Queen of the Desert”. Plus of course, there were a couple of acts from iconic drag performers.

Being both a comedy and musical enthusiast, it came as no surprise that one act particularly appealed to me.The satirical boy band “Fuccbois” delivered a memorable and comedic performance that perfectly captured the essence of the archetypal “cool guys.” Dressed in oversized shirts, backward caps, and sporting penciled-in moustaches alongside shaded penciled -in stubble, these female artists presented a distinct and exaggerated image. Bursting onto the stage in coordinated track pants emblazoned with their logo, they sang pop songs in harmony while executing deliberately swaggering dance moves. Their confident, cocky demeanour was amplified by playful flirting and winks directed at the audience. Their infectious energy and original songs (most notable one named The Gaslight Shanty) made their performance thoroughly entertaining and hilarious.

Watching Tony Award nominee Tony Sheldon take the stage was a treat. Best known for his iconic role as Bernadette in “Priscilla Queen of the Desert” across Australia, Toronto, Broadway, and the West End, Sheldon delivered an impressive lip sync performance. Though he appeared without the signature drag costume and makeup of Bernadette, the vibrant presence and charisma of this character shone through. Following the performance, Sheldon engaged in an informal and insightful conversation with the host, offering the audience a rare glimpse behind the curtain.

 

Andrew Broadbent, a seasoned Australian performer with a rich history in musical theatre, captivated me with his rendition of “I’ve Grown Accustomed to Her Face” from the Broadway classic “My Fair Lady”. His flawless English accent and nuanced mannerisms vividly brought to life the character of Professor Henry Higgins, transporting me to England and perfectly conveying Higgins’ deep, sentimental longing for Eliza Doolittle after her departure.

Another standout act was from duo Rhea Robertson and James Vidigal performing a burlesque act. The sexy, sultry undertones of Robertson’s voice, combined with confident and strong exotic dancer Vidigal, melded together to create an incredible multimedia performance.

Before the intermission, Hardcastle invited audience members who felt confident to come forward and showcase their entertainment talents in a “Show Off” segment. If you would like to have ‘a minute in the sun’ go along and register! Well done to audience participants Susan, Alex, Joanne and Patrick – it takes confidence to perform onstage in front of strangers if it’s not your profession, and kudos to Hardcastle for giving them that opportunity.

The dancers from the “Dance Nikki Webster” studio looked to be students of school age. They had bright costumes and danced with high energy and even higher kicks. One dancer incorporated some backflips into their routine, to the audience’s delight. While they danced, a video of their routine played simultaneously in the background. However, the slight mismatch between the live performance and the video, created a somewhat jarring effect.

The show concluded with a tribute to “Priscilla Queen of the Desert”. A video of past performers from all over the world was played on screen, recounting their experiences during their run with the show over the years. Afterward, a few past cast and crew members, some of who were in the audience, were invited onto the stage to sing “We Belong” altogether. It was a touching finale and created an insight into the bonds that form inside the entertainment industry.

If you don’t mind not knowing who will be performing onstage, “Show Up!” at The Darling Quarter Theatre may be for you!

“Show Up!” was 2 hours, with a 20 minute interval.
Tickets: www.showuplive.com.au/tickets
Darling Quarter Theatre, Sydney

To book tickets to Show Up!, please visit https://showuplive.com.au/.

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Belvoir St Theatre’s A Room With a View is Full of Heart and Humour

A Room With a View

A Room With a View Rating

★★★★★

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3

Grace Chapple’s “A Room With a View”, based on the novel of the same title by E. M. Forster, was a delightful adaptation brought to stage, with a dose of heartfelt romance and subtle yet at other times bold, uproarious humour.

At first glance the set was minimal. A few chairs, tall doors and windows introduced the audience to a hotel room in Florence. This remained the set throughout the whole play, with some additions. It became apparent as the play progressed that the set did not need to be cluttered with period furniture and ornate furnishings. The costumes were beautiful and intricately detailed enough to place us in the exact time period of the early 1900’s, courtesy of set and costume designer Zoe Atkinson.
Lighting designer Amelia Lever-Davidson, sound designer Madeleine Picard and composer Grace Ferguson pulled together masterfully to create an atmosphere to surround the characters and convey exactly where they were at any given time. This was through nuanced lighting and clever sound design. One standout scene was when three characters, George Emerson (Luke Wiltshire) Freddy (Tomas Kantor) and Mr Beebe (Tom Conroy) went swimming in the pond in the woods in Surrey. When they ducked under the water in a circle together, the light spotlit the men using cool blue tones and underwater meditative sounds. This, combined with the actors’ slow and exaggerated ‘underwater movements’ and playful interactions whilst holding their breaths had me almost believing they were going to emerge from this scene totally soaked when their heads popped up.

“A Room With a View” follows Lucy Honeychurch (Nathalie Morris) as she begins her holiday in Florence with the older and wiser (in her own words) Charlotte (Hayley McElhinney). Charlotte has been put in charge by Lucy’s mum Mrs Honeychurch (Kate Atkinson). She is accompanying her naive-to-the world cousin and promises to keep Lucy safe and ladylike, a responsibility which she takes extremely seriously. McElhinney’s exacting potrayal of an anxious Charlotte rang true to her character, kudos to her.

It is in Florence where the ladies meet Mr Emerson (Patrick Williams) and his kind hearted son George (Luke Wiltshire). He offers his room with a beautiful view of the piazza to Charlotte and Lucy after overhearing them wishing their room had a view. Morris effortlessly became her character and immersed into Lucy with ease, portraying her as a young woman genuinely torn between acting as society expects – a respectful and quiet young lady – and the need to burst out of her conventional self to bloom into a spirited woman who wants more than being a subservient wife and living a sombre life.

Williams played Mr Emerson well, portraying his kind, honest and truthful heart in a calm and likeable manner. His poetic delivery of advice towards the end hits to the core of the play and the message the audience are left to ponder – “We fight for more than Love or Pleasure; there is Truth. Truth counts, Truth does count.” – is poignant.

 

There are outings together in Florence and one day, they are taken on a sight seeing trip led by a confident and outgoing Italian driver, portrayed by Tomas Kantor. After the British tourists leave, the Italian driver, cigarette in hand, turns to the audience and begins a one way conversation. He spoke expressively about the tourists in fluent Italian, even pouring a drink from a wine bottle into a glass that he gave to some front row patrons, thus breaking the fourth wall. How did we know what he was saying? With the very creative use of subtitles! This was done the 1900’s way with a projector and with the Italian driver manually clicking through slides as he spoke. This delighted myself and from the audience’s laughs, they appreciated it too.

Later, the play progresses to Windy Corner and Surrey where Lucy lives with her mum Mrs Honeychurch (Kate Atkinson) and her younger and animated brother Freddie, played by Tomas Kantor. Mr Beebe, the local Pastor who had also been in Italy, has new neighbours move in who happen to be Mr Emerson and his son George. They had been invited to stay by Mr Cecil Vyse (Charles Wu). Lucy announces her engagement to Cecil. Wu’s portrayal of Cecil is excellent, and we see that this upper class character, “a fortunate man of leisure”, is a mismatch for dynamic Lucy. There is a very funny scene which highlights this. Lucy, George and Freddy are playing tennis. As each ball hits the tennis racquet, it was highlighted with a live note struck by Patrick Williams discreetly situated at the back behind the windows on a keyboard. As they are screaming with laughter, running around and having rallies (resulting in a shower of musical notes being played), Cecil sits on the umpires chair, trying to read a novel and looking extremely uncomfortable amongst the physicalities and laughter from his fiancé and the men. Lucy is faced with the choice of continuing her engagement or breaking it off with Cecil, and trusting and following her heart, to wherever and to whomever that may be.

Serious themes such as the complexities of one’s heart, women in society, family and class structure and expectations are balanced perfectly with the lighter moments brought to the stage by the cast. One such scene comes with a full frontal nudity scene warning on the program, and not having viewed the program before the play began, this particular scene was a surprise and created the intended hilarious response from myself and from the audience. Director Hannah Goodwin, A Belvoir St Fellowship Awardee, has brought together a captivating and complete reimagining of a novel nearly one hundred and twenty years old, and it is a timeless theatrical masterpiece! Book your tickets to “A Room With a View” at The Belvoir Theatre soon, before it changes its room with a view and onwards travels to Melbourne.

“A Room With a View” is playing from 3 October – 1 November at The Belvoir St Theatre.
25 Belvoir St, Surry Hills 2010.
Run Time: 2 hours and 40 minutes (including a 20 minute interval)
Tickets: www.belvoir.com.au/productions/a-room-with-a-view

To book tickets to A Room With a View, please visit https://belvoir.com.au/productions/a-room-with-a-view/.

Photographer: Brett Boardman

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Captain Corelli’s Mandolin – There’s Always Love And Music

Captain Corelli’s Mandolin

Captain Corelli’s Mandolin Rating

★★★★★

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4

“Captain Corelli’s Mandolin”, originally a novel written by Louis der Bernieres in 1994, was adapted for stage by Rona Munro. The Genesian Theatre Company are no strangers to presenting a diverse genre of plays and has been a staple in Sydney’s theatre scene delighting audiences since its first play in 1945, notably after the war and the time period this play was set. I have tremendous respect for The Genesian Theatre, having seen many of their productions at their previous home in Kent St, inside a church built in 1868, where they had performed for 70 years. Their new era began at their new home in Rozelle in 2025.

“Captain Corelli’s Mandolin” takes the audience back in history to 1941, set during the second world war on a beautiful Greek island, Kefalonia. Opening to a peaceful seaside scene, people are living a happy life, unaware that their lives are about to be changed. Dr Iannis (David Stewart-Hunter) and his daughter Pelagia’s goat (Hope Selim) are breathing in the ocean’s fresh air. The goat proceeds to nibble on his paper while Dr Iannis’ back is turned, and Selim’s wide eyed goat was very amusing as Dr Iannis continued to berate the animal, who clearly did not understand a word he was saying. I wondered if this was a prelude to the following hardships of war, where the oppression and suffering of innocent people fall on deaf ears of those responsible.

Dr Iannis’s daughter Pelagia (Isabelle Serafim) is engaged to Mandras (Maximillian Choma). Her character is feisty and headstrong; she is a character with strong opinions. The first act builds up to the arrival of Captain Corelli, and lays the historical foundation and significance of the war. It shows traditional Greek life on the island and the importance of family, with scenes showing Mandras’ relationship with Pelagia and with his mother, Drosoula (Phillipa Coleman).

The background to the arrival of Captain Corelli and his soldiers is told through the relationships of the people living on the island and also through the character Carlo (Brodie Chong). Chong’s Brodie addresses the audience directly and through scenes onstage, and tells of his own experiences in the war as an Italian soldier, and his relationship with Francesco (David Newton). There are touching scenes showing simple joys amongst the horrors of fighting in the war, these being with Francesco keeping a pet mouse secretly in his pocket and the importance of companionship between the two soldiers, and with the pet mouse, as well.

 

The second act was longer than the first act, which felt like it dragged a little, and moved at a faster pace. It told the story featuring human relationship elements, with Captain Corelli and the Italian soldiers who invaded the island, and were living inside the Greek islander’s houses. Mandras had left Kefalonia to fight in the war. Captain Antonio Corelli (Dimitri Armatas) arrived with a rather easygoing manner, and appeared as a breath of positivity with his love of music and his mandolin, in a time of wartime struggles. Food was scarce and the Greek people were under occupation. At first reluctant and hostile towards Captain Correli, Pelagia begins to soften and eventually a romance begins. This of course brings complications and Stewart-Hunter embodies the caring father role fully as he delivers advice to Pelagia. He warns that although he does like Captain Corelli as a person, she is betrothed to Mandras and by her being with the “enemy” it will likely bring negative judgements and make her a social outcast in their community. One of his lines was poignant and was delivered by Stewart-Hunter perfectly. “Love is a temporary madness. It erupts like a volcano and then it subsides. And when it subsides you have to make a decision. You have to work out whether your roots have been so entwined together that it is inconceivable that you should ever part.”

Captain’s mandolin, which he named Antonio, from the play’s title, had a starring and important role, particularly towards the end which I won’t disclose. Not only was the mandolin a star, but music itself and the power of it to lighten and transport people away, if only for a short while. Well done to the sound and lighting designer Michael Schell, for creating the atmosphere of not only the sounds of the bombs and frightening aspects of wartime in red flashes and strong white headlight lighting, but also for the gentler parts of the play such as the ocean waves, and the understated spotlight on Carlo to highlight his heroism during an important scene. The music chosen throughout the play and during the many scene changes immersed the audience into the 1940’s. The song “Pelagia’s March” was touching and represented the depth of love Captain Correlli had for Pelagia. Kudos to Armatas for playing the mandolin live onstage. I liked how the song he wrote for Pelagia started so simply with a few plucks, and then we were able to hear the full orchestral song later when he became a successful musician.

Susan Carveth’s costume design brought the characters alive out of the page into wartime and showed the traditional Greek culture on the island.

The script was quite wordy and I am sure it was not an easy task to incorporate the complexities of many themes into one play. Well done to the main and supporting cast! Co-Directors Rose Frasca and Roger Gimlett pulled together both the large 24 person cast and crew cohesively to create a serious play showing the frail balance of life on a beautiful Greek island, how families and relationships are forever affected by forces out of their control and the struggles of putting love before loyalty. And music. Always the beauty of music.

Captain Correlli’s Manolin is playing from 4 September – 10 October 2025 at The Genesian Theatre. 2B Gordon St, Rozelle Sydney

Running time: 2.5 hours, including a 20 minute interval

Tickets: www.genesian.sales.ticketsearch.com/sales/salesevent/156354

To book tickets to Captain Corelli’s Mandolin, please visit https://genesiantheatre.com.au/events/captain-corellis-mandolin/.

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