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A Whipple-Scrumptious Night of Pure Imagination

01/05/2026 Linda Lokhee🏆🥇🦉

Charlie And The Chocolate Factory Rating

★★★★★

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Oxford Falls Grammar’s Charlie and the Chocolate Factory was a grand glossy, decadently drizzled, deliciously complex and rich in flavour musical… oh yes, it was a sensational WhippleScrumptious Fudgemallow Delight of a production!

Based on the novel by Roald Dahl, the story of Charlie and the Chocolate Factory has delighted children and adults alike for 62 years, since its publication in 1964. It’s no wonder that the eccentric (some may call him ‘crazy’) purple coated, top hat signature style, whimsical Willy Wonka found himself and his fellow characters in a musical, featuring an original score by Marc Shaiman, lyrics by Marc Shaiman and Scott Wittman and a book by David Greig. The musical also featured songs from the movie by Leslie Bricusse and Anthony Newley.

This was a huge cast, with 21 main characters, 20 dancers and an immense 31 person ensemble sometimes having to be onstage all at the same time, notably for when the spoilt children meet their fates and the little Oompa Loompas appear to “help clear out” (I don’t think this review would contain any spoilers but if you have not read this novel or seen the musical, you wouldn’t know what an Oompa Loompa is, right?) Artistic Director Odessa R and Assistant Artistic Director & Stage Manager Megan G were tremendously talented in managing the large scope in putting this production on the stage.

The musical kicked off with the upbeat song, The Candy Man, as we are introduced to Willy Wonka played by Toby. After I had seen Toby perform this first song, I knew that the audience was in for a treat because of the way he introduced his character with quiet confidence and a little zany charm!

Charlie Bucket, played with pure sunshine-hearted goodness perfection by Grace, lives with her mum, played by Sierra and her four bedridden grandparents squeezed into bed, played by Christian, Zoe, Grace and Jack. Mrs Bucket works hard and is struggling to earn enough money to feed everyone. Sierra’s voice was showcased beautifully in a song, If Your Father Were Here, which she sings when Charlie is asleep, and when she dances with the memory of Charlie’s father, this added a quietly touching scene.

Soon we discover that Willy Wonka, after being mysteriously unseen for many years and his branded chocolate currently in the same way – unseen/ unsold – is now selling Wonka chocolate bars at a candy store near Charlie’s house. There is a new and exciting competition. Five Golden Tickets are hidden inside Wonka’s chocolate bar wrappers, and each Golden Ticket ensures the winner a tour into Willy Wonka’s factory and an opportunity to have a lifetime supply of chocolate! In quite a genius stroke of marketing, chocolate sales all over the world skyrocket with people scrambling to acquire a Golden Ticket, until all Wonka bars are sold out worldwide.

The announcements of the four winners are televised as the Candy Man shopkeeper (Toby) invites Charlie to watch each winner gloat over how they won their tickets. Jerry, played by Charlie and Cherry, played by Isabella, were the news announcers and carried the enthusiasm of the winners to the audience with pizazz.

The winners come from all over the world. The first winner is German child Augustus Gloop, played with cheerful hungriness by Xavier. His mum Mrs Gloop, lovingly played by Xenia, indulges her son in whatever he wishes. The ensemble’s German costumes added authenticity to the introduction of this initial lucky winner, with the song, More of Him to Love.

Veruca Salt, played by Caitlin is another winner from Russia. Alongside her father Mr Salt, played with a desperate-to-please-his-daughter stress by Nico, we see Veruca’s spoilt personality clearly with Caitlin’s performance of Veruca’s sharp demands, especially with the song When Veruca Says. I’m sure, not only me but many parents in the audience were cringing at her “I want!!” statements and feeling sorry for Veruca’s father. This wouldn’t be the first time that the audience would begin to appreciate our own wonderful children, as we meet the next 2 subsequent child winners and their outrageous personalities.

Pop diva wannabe American child Violet Beauregard, introduced with the song The Queen of
Pop, is played by Poppy. She is the next winner and her father, the wealthy Mr Beauregard, played by Luka, panders to his spoilt daughter. Poppy held the stage as her character would, with her spoilt demands and her impressive dance moves.

The next winner, American Mike Teavee, played perfectly with the coolness of a teenager addicted to screens by Hilary, shook off all of Mrs Teavee’s attempts at affection with derisive looks and a swipe of the hand. I almost felt sorry for Mrs Teavee, played by Riley. Riley’s song That Little Man of Mine added to this feeling, although we do see hints of how Mrs Teavee has other addictions and how perhaps being addicted to something could run in the family.

After being blown away by the visual elements of this first act so far, and the dancing and energy of the spoilt children and pandering parents, it was an absolute contrast and joy to watch Charlie quietly unwrap a Wonka bar and be the final winner as she discovers the golden ticket. The audience was invested as we cheered Charlie’s discovery. I know I was beaming as Grace sang, “I’ve Got a Golden Ticket”. What a wonderful turn of the story to see Charlie run home and announce this exciting news to her family. It is here that Grandpa Joe gets the motivation to step out of bed (after 40 or so years!). Christian had the audience laughing as his wobbly knees slowly begin to work and he dances with Charlie and Mrs Bucket in celebration, even kicking his leg into the air – followed by him grasping his back!

The cast built up so much excitement and towards the end of the first act, there was genuine wonder for me as to how OFG was going to present the second act. I was looking forward to seeing inside Willy Wonka’s chocolate factory, so much so that during the intermission I went out and bought a chocolate bar in anticipation! (Spoiler – it wasn’t a Wonka Bar, it was a Picnic, but I assumed it was because all Wonka bars had sold out).

The second act of Charlie and the Chocolate Factory didn’t slow down. It was filled with electric energy, stacks of humour and sometimes a little bit of kid-friendly horror as things begin to move forward and some elimination of candidates occur. I don’t want to say what happened in the second act. I will say that there was not one moment, which didn’t capture my attention. The dance sequences were phenomenal, with the cast moving in time together and showcasing their skills as a team. The three talented divas, Arrabella, Monah and Emma demonstrated their skills throughout the musical. Well done to choreographers Lauren T and Chelsea M for putting this together, to be so visually beautiful.

All the costumes, by co-producer Roxy M, were eye catching and clever in their design. As each winner was introduced, with the exception of Charlie, the ensemble appeared in complementary costumes that added to the character’s presence.
Two standout costumes were Violet Beauregard’s suit after she snatched the three-course meal gum and popped it in her mouth against Willy Wonka’s wishes. I loved how Poppy cartwheeled across the stage in her purple puffed suit as though she was a rolling blueberry! The Oompa Loompa’s outfits were perfect, and the duo colour and stripes somehow made them look small.

The ever changing and colourful digital screens behind and either side of the stage, as well as the 3D print of the props, communicated to the audience exactly where the current scene was set. It was an impressive achievement by Dale D as every visual had so much to look at. The scene leading to Willy Wonka’s factory made me wonder what was inside there.

An integral part of a musical is the band and backing vocals. Oxford Falls Grammar had 22 extremely talented musicians and singers who carried the accompaniment and added sound effects throughout the whole performance. Situated at the base of the stage, the music was clear and beautifully executed, well done to all.
Congratulations to Jimmy H, not only the conductor but also the co-producer and musical director of Charlie and the Chocolate Factory. He has succeeded in creating a dynamic and rich heartfelt musical that appeals to people of all ages.

There is wonderment, a little touch of magic, many belly laughs and of course, a world of pure imagination in Oxford Falls Grammar’s production of Roald Dahl’s Charlie and the Chocolate Factory. It was difficult to believe that this was “only” a high school performance, as it reminded me of plays and musicals that I have reviewed, and given five stars to, in theatres around Sydney in the past. Given the remarkable effort that resulted in just three evening performances, I suggest considering a reprise at the end of the year. This could be advertised more widely and opened to the general public for ticket sales. I believe many people would be eager to attend and would greatly appreciate the incredible talent this school is contributing to the Northern Beaches community.

Bravo OFG, Bravo!

Roald Dahl’s Charlie and the Chocolate Factory
Approximately 3 hours, with a 20 minute intermission
C3 Auditorium, Dreadnought Road, Oxford Falls
23 April 2026 – 25 April 2026

To book tickets to Charlie And The Chocolate Factory, please visit https://www.trybooking.com/events/landing/1476088.

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Bags Packed But Nowhere To Hide: Away At The Theatre On Chester

12/04/2026 Linda Lokhee🏆🥇🦉

Away by Michael Gow Rating

★★★★★

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At the Theatre on Chester, the space itself becomes part of the storytelling. Its cosy intimacy draws the audience in, dissolving the boundary between stage and seats and creating a sense of shared experience that suits Michael Gow’s Away very nicely. Under the sensitive direction of Carla Moore, this is a production that leans fully into the emotional closeness the venue affords.

Away is an easy story to be pulled into, not because it is simple, but because it is so recognisably human. Across three families, Gow’s play explores grief, loss, and the ways we lay both love and burden upon each other.

A simple but effective set – dominated by a cleverly realistic mobile tree – leaves the way clear for attention to focus on a strong cast. The opening scene features the closing moments of a school performance of A Midsummer Night’s Dream – the dancers moving with an endearingly clumsy grace – followed by a sweet exchange between two awkward teens, Tom and Meg. Tom (Lucas Dockrill), clearly has a crush on Meg (Tara Bishop), and is every bit as smooth and graceful about expressing it as you would expect from a teenage boy. It all seems to be going well though, until the parents arrive.

Meg’s parents, Gwen and Jim, are decidedly underwhelmed, driven by Gwen’s apparent determination to seek and find fault at every given opportunity. It’s quickly evident that that the female leads will dominate in this production, with Anna Desjardins doing a wonderful job of portraying the state of barely contained rage and resentment that Gwen seems to live in. The spikey, confrontational energy held in her tight body and twitching hands is at times uncomfortable to sit with, but tremendously effective. Beside this, the apologetically shuffling Jim (Cam Ralph), whose sole mission seems to be to appease his wife – there’s clearly love there, as well as some level of understanding – is somewhat overshadowed.

By contrast, Tom’s parents Harry (Ian Boland) and Vic (Tracey Okeby Lucan) are warm and effusive, evident pride spilling over as they greet their son. A little too effusive, maybe? It’s one of the many threads that weave together to explain motivations, but not for a while.

The scene (and many subsequent scenes) is stolen though, by Karen Pattinson as Coral, the wife of headmaster Roy (Martin Bell). Coral drifts on the edges of scenes like a ghost; there but not there. Roy and Coral lost their son in the Vietnam war, and Coral now alternates between complete dissociation and a series of somewhat ghastly attempts to put a socially acceptable mask on at the urging of her husband, who just wants to move on with life with the woman he used to know. She succeeds, at moments, to look and act somewhat normally, but you can see the effort trembling at the edges of her face before she drifts back into her own world of pain.

Rounding out the stable of strong female leads, Tara Bishop plays Meg with quiet restraint. Meg is chafing at the bonds of expectation that tie her to her mother’s happiness – or rather, lack of it – and the moments where she starts to pull away and challenge the situation land with the subtle authority of a much older actor. She’s one to watch going forward.

Lucas Dockrill’s Tom is worth mentioning as similarly grounded, offering a portrayal of genuine sweetness and vulnerability. His openness is engaging, though there are moments where emotional beats are pushed too quickly, slightly undercutting the character’s natural awkwardness.

Although the premise of the play is that all three families are going away for a holiday over Christmas, the theme of… awayness, for lack of a better word, permeates through every character. Gwen flees into anger to avoid confronting the trauma of her past; Meg longs to escape the crushing responsibility for her mother’s happiness; Roy seeks distance from grief in the pursuit of normality; while Coral retreats into dissociation or fantasy to escape her pain. For the remaining characters, separation of another kind hovers – but I’ll leave the audience to discover that for themselves.

For all its emotional weight, the production is far from relentlessly bleak. A distinctly Australian humour surfaces throughout, with Oscar Baird deserving a special mention for his energetic multi-role performance, including a memorable and unexpectedly arresting banjo solo during the campsite talent show.

As its threads converge, Away ultimately reveals itself as a story not just about leaving, but about coming home – to connection, empathy, and shared understanding. It’s a quietly affecting journey, and a production well worth experiencing.

Season: April 10 – May 2
Buy tickets via: https://www.ticketor.com/theatreonchester/default#buy

To book tickets to Away by Michael Gow , please visit https://www.ticketor.com/theatreonchester/default#buy.

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Umm…What Else? Mitch Dale Entertains Everyone at The Comedy Store Too

07/04/202606/04/2026 Linda Lokhee🏆🥇🦉

Umm…What Else? Rating

★★★★★

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I imagine that being a comedian would be quite a challenging job. Some people are naturally funny, but that doesn’t necessarily make them a “born comedian”, as one may think. To do this for a living, comedians need to be multitalented – they are both specialty writers and actors (cue the timing and the delivery of a joke) with a certain amount of bravery to be up onstage with a microphone. They need to have a quick wit and response time when interacting with an unpredictable audience. I watched Mitch Dale at The Comedy Store Too at Moore Park in Sydney, and he had all of these talents! His one hour set for Umm…What Else? was a hilarious!

Mitch’s comedy style for this show varied from quick quips/ play on words/ short funny interactions with the audience, to delivering longer amusing tales about growing up in Australia. He is a talented storyteller who captured my attention from the beginning. For example, when he talked about casseroles and how after being slow cooked by the end of day, everything has turned to mush, yet the potatoes still have some crunch! And rugby. The interesting thing about Mitch’s delivery of his material was that he did it in a very understated manner where he cleverly picked a point and wove it into his story. It was like a dropped hot chip surrounded by seagulls – there’s a small beat as the audience listened to his words, and then once we realised his point, we jumped on the joke, laughing! “I played rugby, because I’m from Queensland, and I have a dad.”

The topics of the night were ones that were aimed to amuse all ages in the room. Mitch talked about personalised number plates, uber drivers and his trip to Japan – all of which was relatable to most of the audience, going by their enthusiastic responses. Mitch also catered for the older generation. It was interesting that he mentioned his childhood and how his parents had him answer the home phone as if he were in an office. It’s amusing because it’s true – back when families had landline phones, some parents made sure everyone answered in a formal manner. I remember calling my friend on their landline, and the younger five year old sibling of my friend answered the phone like this, it was very cute. I suppose there is a generation now who wouldn’t have had the experience of this, or of waiting a few weeks for a computer to be built so that it could go into it’s own special room in the house lovingly nicknamed “The Computer Room”.

Mitch also talked about how he got his name and shared some experiences with his health, and amazingly, he managed to turn even these more serious subjects into something funny. He had the knack of telling a life situation with honesty and humour.

During this set, Mitch was quick to respond to the audience. Instead of picking on that person and teasing them mercilessly, he interacted in a respectful and humorous manner. He clearly has a talent in quick thinking and response situations. In the lead up to Christmas last year, when he was working for a company, his entire job that weekend was to get busy people out of any social commitment they were trying to dodge. The company set the challenge for people to head into a particular store and Mitch will deliver an excuse for them. “He’ll make the hard call – you get the clean break and a guilt-free afternoon back.” From watching Mitch in Umm…What Else?, I am sure that he would have risen to this challenge.

Keep a lookout for this comedian Mitch Dale. Although this was a one-night show in the lead up to Sydney’s Comedy Festival, it won’t be the last you’ll hear about him. It was a sold out event at The Comedy Store Too tonight, so next time be sure to buy your tickets quickly so you don’t miss out.

To book tickets to Umm…What Else?, please visit https://www.neuralle.com/talent/mitch-dale.

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Till the Stars Come Down

04/04/2026 Linda Lokhee🏆🥇🦉

Till the Stars Come Down Rating

★★★★★

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If you’ve ever been lucky enough to have had a ‘perfect moment’ where you wanted to freeze time, to bathe in pure happiness, you will be able to relate to Sylvia in Till the Stars Come Down. In contrast, the feeling of wanting to stay, for fear of what may happen next, may also be relatable. These poles of emotion are strong, and it is in the myriad of this and everything in between, that becomes a tightrope linking a family together.

Directed by Anthony Skuse, and currently performing at KTX on Broadway, Till the Stars Come Down is a play about the complexities of family, grief, loyalties and love. Set in the deindustrialised working-class town Mansfield in the UK, the play takes place over the course of one day.

After a whirlwind romance, Sylvia (Imogen Sage) is marrying Polish immigrant Marek (Zoran Jevtik). Sylvia is one of a trio of sisters, and although each have very different personalities, they appear to be close. There’s a beautifully intimate scene where the sisters are lying on the floor, heads together and chatting, reminding me of either the innocence of making snow angels, or representative of the three of them combining to make a single star. I thought that maybe this was a subtle nod to the play’s title.

Hazel, (played with highly strung perfection by Ainsley McGlynn) is stuck in a job she finds boring, in a marriage where she feels unseen and consequently has a rather sharp tongue which seemed to be frequently aimed at her sister Maggie (Jane Angharad). Hedonistic and quadrupled married (twice to the same man, does that count as four times? “I only married him because he looked at me like I was a potato in a famine.”) lives elsewhere and had left Mansfield abruptly leading to the other sisters feeling somewhat abandoned. Angharad’s portrayal of Maggie was layered, and her lack of self-esteem as well as her desperate confusion in some parts of the play was admirable. Sage’s portrayal of bride Sylvia was sweet. She feels some guilt about moving out of home, having been a companion and career for her widowed father Tony (Peter Eyres).

The first half of the play is female led, and in the opening scene we are introduced to Sylvia’s living room by Hazel’s youngest daughter Sarah (Kira McLennon) zooming onto the stage, laughing with girlish innocence, and playing with a spacecraft. (I noted this may have been another cosmic nod to the play’s title) Hazel’s older daughter Leanne was also there, portrayed with just the right amount of teenage attitude by Amy Goedecke. Aunt Carol, (Jo Briant) arrives, a no-nonsense loveable character full of advice in the form of quick wit. On getting old, she says, “I’d like a bit more of the middle part” and speaks with the wisdom of a woman who has lived a colourful life. Briant was a standout scene stealer, particularly as she got more inebriated at the wedding and danced – the audience loved her!

During the wedding day, things start to become messy as Sylvia’s family reveal their racism and suspicion towards Marek. Hazel’s husband John (James Smithers) is unemployed and a kind offer by self-employed Marek is not received gracefully. An added layer at the table was Sylvia’s father and his estranged brother Peter (Brendan Miles). Tension built due to old resentments from past actions (disagreements during the time of the mining strikes) which billow around them.

Then, the beautiful wedding day descends into total family chaos.

Playwright Beth Steel has successfully written a script which gives a strong voice to all characters in fairly even measures; each have their own depth and inner struggles. The ensemble was cohesive, bringing their own character’s hidden raw emotions to the surface. This drew me into their lives and moved me. Although not an expert on accents, I believe all of the actors’ English East Midlands accents were flawless throughout this performance, kudos for this.

Composer and sound designer Layla Phillips brought the relevant era to the stage with the choice of pop songs and some original moving music throughout the play. Set designer James Smithers created a stage with minimalistic props. The wedding table and setting which appeared to have real food on the actors’ plates, along with the top bars that ran above the table was a highly effective use on the small stage. The intimate KXT Broadway was a good choice to house this play, and the casts’ clever involvement of the audience during one part added that extra bit of immersive sparkle to this production.

I loved Till the Stars Come Down! It is a hard-hitting play which explored many themes and circles back to love, life and ultimately surviving the day. It is a play which will stay with you for a long time – go see it!

Season: March 27 – April 11 2026 at the KXT Theatre Broadway
Run Time: 120 minutes with an interval
www.events.humanitix.com/til-the-stars-come-down

To book tickets to Till the Stars Come Down, please visit https://www.kingsxtheatre.com/till-the-stars-come-down.

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