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All Things Must Pass: A Play About The Beatles

12/09/202612/09/2026 Linda Lokhee🏆💎🔥🦉🎭

All Things Must Pass Rating

★★★★★

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When we think back in history to musicians who have had a profound influence in their industry, and an even greater effect on people who love them, there are a handful of people. George Harrison, John Lennon, Paul McCartney and Ringo Starr were The Beatles, and at the height of their career in the mid to late 1960’s, they caused what was coined, “Beatlemania”.

It is during this time when “All Things Must Pass”, a play performed by the Lane Cove Theatre Company, focuses on. Written by David Potter and directed by Luke Derrick, this play takes its name as a nod to one of the solo albums released by George Harrison in 1970. This title makes sense on two fronts. One reason being that the play, although featuring all four Beatles, does have a steady focus on George (Matt Clayton). The other reason I think the title suits, was a bit of a play on words. Following John Lennon’s death, the play examined the aftermath of a friend’s murder, and the grief of the remaining members. Towards the end, George mused, “Life doesn’t conclude, it just stops. What does it mean to us?” thinking that everyone passes and “death is taking off your suit”, so life is one thing that simply passes.

The play opens with George in his living room, silent and upset. It has only been a short while since John Lennon was shot. Ringo, (Blake Nicholas), comes to visit and we quickly see the dynamics of these two friends. Nicholas plays Ringo with natural charm, showing his character’s optimism as his tries to gently cheer up his friend. Paul (Rachel Benedict) arrives and soon they are visited by the memory of John (Clayton Moss).

They are soon transported in time back to the 1960’s where all four band members are being interviewed and filmed – bantering on the couch. All four are sitting in a row, squeezed together and completely at ease with each other and with the media. I would say that this scene represented that it was as good as it would get between the band members, and relationships appeared to fracture after this point.

“All Things Must Pass” takes a deeper look into the strained relationships between the four, most notably between Paul and George. It appeared that Benedict’s character Paul was mostly terse and unhappily snarky throughout the entire play, and it may have been purposeful, although this did make him unlikeable. One of his quotes showed arrogance – he snaps at George, “I was the one who made you!” after George brings up that he was unhappy that Paul was suing him. Paul completely refuses to take responsibility for the legal action, blaming his lawyer.

Ringo remained level headed and patient, even playing chess with himself (three games!) as Paul and George recorded in the Abbey Road studios. Nicholas did a great job of portraying Ringo and his laid back character. John, re-joining the three at different times to show the audience what life was like back before he died, appeared later on to take himself away on “trips” (of the pharmaceutical non-legal kind).

Brian Epstein (Nat Jenson) was The Beatles manger and whenever he came onto the stage, he did so in a whirlwind of exuberance, if not a bit over the top. He guided their career and was said to have made their commercial success by putting them into matching suits, securing their record contract and guiding them.

The time periods skipped back and forth throughout the 1960’s and upward, with the intended date projected onto the screen behind the actors. The set was very simple, with a minimalistic look. The screen showed black and white sketches of where they were, sometimes in George’s living room, other tines in the Abbey Road Studio or on a rooftop in London. Costumes were also streamlined. The characters wore suits, with no change of costume.

Matt Clayton was a standout in this play. His Liverpool accent never dropped and his portrayal of George Harrison kept the audience riveted. I was impressed by the monologues that George said, which often gave us an insight into his mental health. His way of coping with life after John died was to become immersed in spirituality. In one scene, he was meditating, repeating the “Hare Krishna” mantra over and over, all the while being drowned out by the increasing volume of noise and chaos of the outside world. In this intense scene, it seemed to be a catalyst for the other times where it was mentioned that the screaming and attention of fans were unwelcome. It culminated in George shouting, “Leave me alone with my thoughts! Just let me die!”

Sara Vencalkova and Anastasia Vokhmyakova completed the cast, playing different roles; the reporters, photographers and other characters which added to this story. This is an original play about another side of The Beatles, about being famous, and mostly about friendship, life and grief.

“All Things Must Pass” is in partnership with The Fringe Festival and is on from 10 -13 September 2026 at Pottery Lane Performance Space.

Time: Approximately 100 minutes with a 15 minute interval.

Tickets: www.sydneyfringe.com/events/all-things-must-pass-a-play-about-the-beatles

To book tickets to All Things Must Pass, please visit https://sydneyfringe.com/events/all-things-must-pass-a-play-about-the-beatles/.

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The Ku-ring-gai Philharmonic Orchestra’s Spirited Away: A Musical Masterpiece Into The Movie And Gaming Worlds

01/09/202601/09/2026 Linda Lokhee🏆💎🔥🦉🎭

Spirited Away Rating

★★★★★

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For a relaxing Sunday afternoon, being immersed in the sounds of film and gaming music scores performed by the Ku-ring-gai Philharmonic Orchestra (KPO) was perfection. The choice of songs was varied, from the widely known “Star Wars Suite” composed by the legendary John Williams to other songs that I was not familiar with, such as Jeremy Soule’s “Song of the Dragonborn”.

The KPO’s deliberate choice of song order was clever, which took the audience on an emotional musical journey with ups and downs like a wave. The KPO alternated playing intense songs, then moved next to a quieter song, then back to a powerful piece.

A standout song was the meditative beauty “Benjamin”, originally from the ABC/ International film and television series, “The Hymns of the Forefathers”. Listening to this song live was quite special, as we were fortunate to witness the composer conduct his own piece. The song “Benjamin” was named after his three year old son. KPO’s Artistic Director and Chief Conductor Paul Terracini used his baton, signalling tempo and guiding the orchestra in all of the song performances, except this one. Instead, it was beautiful to see the love and depth of feeling he had for his own piece. He did not use his baton, he conducted with his whole body and arms, swaying to the tempo, and it was mesmerising to watch.

Before each performance, Terracini introduced each song with some background information on each composer and some information on the song. The KPO’s first song was the “Star Wars Suite”, and from the very first opening note, the power and precision of the orchestra created an exciting start. The “Imperial March” was played with perfect precision, with the sharpness of the trumpets, bassoons, trombones and tuba intermingled with the frenetic violins and full orchestration to create the menacing Darth Vader theme. This Suite arrangement displayed an example of the alternating powerful and gentle song format, with sweet and regal “Princess Leia’s Theme” following the boisterous main theme. The different tempo and soft beauty of “Yoda’s Theme” with the harp, and the grandiosity of the “Throne Room and End Title” contrasted with each other and conjured up scenes from this classic movie into my mind.

The magic of the KPO’s music continued with “Spirited Away Suite”. Joe Hisaishi composed for Hayao Miyazaki’s animated films from Studio Ghibli. I had seen the 2001 anime “Spirited Away” a long time ago and did not remember the music, so it was with curiosity that I began to listen to this suite. The piano infused a gentle and curious beginning with “One Summer’s Day” and as this song progressed, it shone of innocent wonder. The harp plucking represented the moon to me, in “Night Time Coming”, with a lovely lullaby. This was followed by “The Gods”, which had a dramatic element, with the percussion leading the effects in some parts. This suite featured lovely solos by harpist Kaela Phillips and Concertmaster Violin Lead Anne Marie Braid. The effect of a solo, and then the orchestra joining in was effective in creating a musically flowing journey for the audience.

After the interval, the KPO performed the soundtracks and music from “Song of the Dragonborn”, “The Elden Ring 2022”, “Spartacus”, “Benjamin” and ended with “Fellowship of the Ring Suite”.

Japanese Composer Yuka Kitamura’s “Elden Ring 2022” theme was arranged by Jonathan Shaw and was a very strong and powerful piece. Beginning gently, the quick metamorphosis into a highly dramatic theme, with the brass, wind instruments, violins, percussion and metallic percussion gong’s calling was impressive.

“Spartacus”, was composed by Aram Khachaturian. This song was written for a ballet in 1954, and the retelling of a Thracian gladiator reuniting with his wife after she was captured, was romantic. The middle part of the song hinted at a shadowed darker time, and the echo of a call and response of the orchestra was instrumental in building the dramatic intensity to a crescendo. The ending of the song relayed the couple’s tender love, as the tempo calmed and the lead violinist brought the story to a peaceful end.

Jeremy Soule’s “Song of the Dragonborn” played next and began in the Dragonborn’s ‘tongue’ – shouts which are heard alongside the horns and violins and were an effective way to introduce the mood. This was an uplifting and courageous song and in some parts it lifted my imagination skyward. This was a very regal song utilising strong brass and percussion to create a mediaeval themed mood.

“The Lord of the Rings: Fellowship of the Ring Symphonic Suite”, arranged by John Whitney, was the last piece the KPO performed and was a wonderful piece to end on. Composer, conductor and orchestrator Howard Shore’s film scores have earned Academy Awards, Golden Globes and Grammy Awards and this suite, beautifully played by the KPO, showcased his talent. The LotR suite included distinct sweeping movements for different character themes. Most notably, the heavier colours during one part came through with sharp precision with the brass and percussion, and then was contrasted with the piccolo, flutes and strings for lighter moments.

The talented musicians from the the Ku-ring-gai Philharmonic Orchestra, led by conductor Paul Terracini created a magical afternoon. This was an encompassing musical journey into the imaginative world of make believe worlds of film, animation and gaming. If you are a music lover, you must listen to a live KPO performance in the future. There is a free community concert called Nothing is Forever, on September 20 2026 at the Turramurra Uniting Church.

Spirited Away Movie and Gaming Music was performed at The Concourse Concert Hall in Chatswood.
Time: 2 hours with a 20 minute interval.

www.kpo.org.au/current

To book tickets to Spirited Away, please visit https://www.kpo.org.au/current/.

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Les Femmes – A Powerful Love Letter To Music

11/08/202610/08/2026 Linda Lokhee🏆💎🔥🦉🎭

Les Femmes Rating

★★★★★

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Les Femmes’ tagline says it all – “Iconic Male Songs – Powerhouse Female Voices”. Indeed, it is their powerful voices and so much more that made their performance at The Grand Electric truly electrifying. The rich soulful voices of the Les Femmes trio are accompanied by the rhythmic twist of hips and sharply succinct dance choreography.

Emma Mylott, Tia Gigliotti and Jacinta Gulisano opened with a strong rendition of Sinatra’s That’s Life, which had the audience immediately cheering. With almost a full house for Sunday’s gig, The Grand Electric was the perfect home for a cabaret style performance. The space inside was not too large, and the stage jutting out with a small runway brought the singers closer to the audience at different times.

Les Femmes continued with iconic songs from the past bearing a Romantic theme. Singing the famous line “You’re just too good to be true”, they sang Frankie Valli’s Can’t Take My Eyes Off You with heart and heavenly harmony. They continued with a medley of beautiful songs such as How Deep is Your Love, When a Man Loves a Woman and Feeling Good (“It’s a new dawn, it’s a new day, it’s a new life for me, oooh, and I’m feeling good” – you know you want to sing along!) These songs highlighted their rich and sensual voices singing in harmony. The high notes were delivered powerfully and sustained with apparent effortless skill but which must have taken countless hours of rehearsal.

There was a touching dedication to Les Femmes’ fathers acknowledging the musical influence on them growing up, with Elton John’s Your Song, The Temptations’ My Girl and Cat Stevens’ Wild World being sung. For this part of the show, the women sat on stools and reminisced, and Jacinta’s dedication of Piano Man to her Grandfather was very sweet. One of my favourite songs was featured during this set, Toto’s Africa. Encouraging audience participation, we sang along and even did a ‘Mexican Wave’ from one side of the theatre to the other and back.

The next segment were songs dedicated to ‘The Players/ The Charmers’ and the mood became funkier, featuring a medley of songs such as My Pony, Justin Timberlake’s Señorita, Stevie Wonder’s Part Time Lover, Everybody (Backstreet’s Back) James Brown’s Get Up, I Feel Like a Sex Machine. The room’s energy changed with the theme and I found myself marvelling at these ladies’ talent from switching from swing and R & B’s soulful songs, to the more modern and funkier songs. The audience witnessed the change and were vocally showing their support, clapping and dancing in their seats.

Les Femmes combined their themes with audience participation. The three singers held a “fun quiz”, asking some male audience members questions to see which category of ‘Good Guy or Charmer’ they fit into. Fortunately they were good sports about this. The women were great hosts, and in-between singing they infused humour throughout their show at the right moments.

After a short interval, Les Femmes returned to the stage and performed their next set, dedicating this part to ‘The Good Guys’ and kicking it off with a fantastic version of Black Box’s Fantasy. I was very happy to hear this one, because my first ever CD was Black Box’s Dreamland! Of course, Barry White’s Can’t Get Enough of Your Love Babe, Bee Gee’s Night Fever and Staying Alive were part of the medley for this theme.

By now, it was astounding hearing how versatile Gulisano, Mylott and Gigliotti’s voice ranges were. There was a mix of songs spanning decades, and the spin they put on these well known and loved songs was impressive.

When one performer took the lead for part of one song, the other two performers supported them with angelic harmony. The three singers had their opportunities to shine and one such highlight was during James Brown’s It’s a Man’s Man’s Man’s World, and listening to their reaction of cheering and whistling, the audience thought so too.

To end their 2 hour show, the choice of Australian well known songs had everyone standing, dancing and singing. The medley included Daddy Cool’s Eagle Rock, INXS’s Never Tear Me Apart, Darryl Braithwaite’s The Horses, John Farnham’s You’re the Voice and one of my absolute favourite songs, Dragon’s April Sun in Cuba.

At this point, I found myself wondering if there was anything these three singers couldn’t do. They had showcased every genre of music, performed countless iconic male songs spanning decades, and danced with incredible energy and passion. Their performances were an everlasting love letter from them, to the beauty of music. Everyone would have left the theatre singing different songs. Les Femmes is not to be missed!

Duration: 120 minutes
Location: The Grand Electric, 199 Cleveland St Sydney
Tickets: www.bit.ly/3UlHCq4

To book tickets to Les Femmes, please visit https://feverup.com/m/648769.

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Midnight Murder at Hamlington Hall – Carefully Constructed Chaos!

02/08/202602/08/2026 Linda Lokhee🏆💎🔥🦉🎭

Midnight Murder At Hamlington Hall Rating

★★★★★

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Midnight Murder at Hamlington Hall opens onstage to the upbeat music of Olivia Newton John’s melodious voice singing her famous song “Physical”. Phillipa Chidley, played by Emily Newberry, is warming up for an upcoming play. She is moving in that wonderfully uninhibited and free way that people dance to an 80’s song, when they think they’re alone. Newberry elicits giggles in her pink leotard as she channels Olivia, and it is a great introduction to this wacky, witty, and original play!

It is the opening night of a murder mystery play put on by an amateur theatre group named the Middling Cove Players. The writer / director / actor Shane Tweed (Michael Mulvenna) and the cast and crew are in the last hours of rehearsal when they receive news that the dreaded lurgy has hit several cast members. After a brief discussion about perhaps postponing the play’s opening night, Shane confidently declares that “The show must go on!” The hitch of this? The remaining cast will need to take on two-or-more character roles in their upcoming play. This includes roping in the tough stage manager Karen, played by Kate Kelly (involved in the Middling Cove Players because of ‘community service’ for an unknown but possibly violent crime) as well as her niece, played by Ciara Briggs.

Under the tutorage of Murray Fane’s character, they are instructed that each of their characters should speak with a different accent to differentiate the characters to the audience of the play. Thus begins the “play within a play” where the cast, donning some hilarious stereotypical costumes and accents, and moving with exaggerated bluster, begin to perform the murder mystery play. It isn’t easy acting ‘like a bad actor’ but the cast throw themselves into it and achieve their goal! Exaggerated accents appear, limps manifest and many other things add a touch of ridiculous to the play.

Mishaps, big and little, continue to plague the play – from the purposely mistimed lighting and sound effects to the outrageously long sound effect at the end (no spoilers – you’ll know what I am referring to when you see this).

Joy Sweeney’s costume design added depth to the Middling Cove Players’ onstage characters, which included a psychic named Madame Esmerelda (Kate Kelly), a movie star, a Seafarer and an elderly Lady Smythe, all three characters played by Emily Newberry. Sweeney’s clever design of Murray Fane’s costumes were spot on for Colonel Munster, Farmer Giles and the Scottsman and the audience were laughing heartily as Fane races to portray all his characters and their associated costumes, sometimes one after another. This was performed with enormous energy by Fane!

As I had previously seen and loved the work of co-writer Jamie Oxenbould’s comedy Chicken in a Biscuit and the high standard performances by Pymble Players, I had hoped that Midnight Murder at Hamlington Hall was going to be an interesting and funny night of theatre. The play was also co-written by Mark Kilmurry. I wondered if the name Hamlington was a deliberate play on words – a bit of a hidden meaning within the title – as in, they were going to “ham things up”. (They certainly did!) After the performance, I looked back on sound designer Casey Moon-Watten’s opening song “Physical” and thought what a great choice this was. Director Declan Moore’s cast was full of movement, each character portraying their own physical comedy onstage which made the audience laugh, especially throughout the second act. This ranged from a quiet nuanced eye raise, notably by Karen Sharp (played by Kate Kelly), the long, long, long descent from standing to sitting because of ‘old dodgy knees’ (Newberry’s Lady Smythe) to the full on madcap purposeful exaggerated movements of Harry Moorby’s character Doctor Freddie Ermington, as he tries to stand after slipping on water, recovering, only to keep repeatedly slipping and sliding. It was like the audience was watching one of those cartoons where a character keeps tripping and slipping, with hands flailing and legs going every which way! It was a sight to see, and the audience loved it! Mulvenna’s Detective Earnest Black’s comedic intensity as he searches for the murderer, steers the play successfully to its conclusion.

In other standout scenes, the whole cast is seen changing the set and moving props under darkened lighting. Kudos to lighting designer Sean Clarke for this, a scene where the cast are moving quickly around the stage, dodging furniture and moving to music not dis-similar to a loony tunes song. The cast toss props to each other in what looked like a mess, but was, I imagine, a very co-ordinated and polished display of physical comedic timing. If you’ve ever seen a silent movie, Charlie Chaplin style, then you can imagine the zany tone of these scenes.

This could have been a disaster, because the play was ‘full of mishaps’. Instead, Pymble Players were magicians, having produced a carefully constructed chaotic comedy with the illusion of catastrophe! The only trouble I had with this play within a play was picking a favourite character.

Don’t miss watching Midnight Murder at Hamlington Hall!

This play is dedicated to Mr Tom Sweeney OAM, director of over 40 musicals and a long-term member and Vice President of Pymble Players. Declan Moore, the director of Midnight Murder at Hamlington Hall, hopes that “this one brings a smile, Tom!”.

Season run: 31 July – 9 August 2026 at The Zenith Theatre, Chatswood.
Run time: 2 hours and 25 minutes, including a 20-minute interval
Tickets: www.pymbleplayers.com.au

To book tickets to Midnight Murder At Hamlington Hall, please visit https://pymbleplayers.com.au/tickets.

Photographer: Daniel Ferris

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