linda lokhee - Whats The Show

Carrie: The Musical – Out Of The Shadows

27/11/202527/11/2025 Linda Lokhee🏆🥇🦉

Carrie: The Musical Rating

★★★★★

Click if you liked this article

Once you have been through “the high school” experience, your nostalgic memories may be one of joy and laughter. Others may remember things differently. Very differently. Carrie White and Sue Snell are two such characters. At school, Carrie (Kayla Stevenson) experiences extreme bullying and continuous group harassment. She’s taunted relentlessly and humiliated by a group of kids, led by the vicious classmate and influential ringleader Chris (Jordan Miller). Sue (Emily McKenzie), Chris’ best friend, begins to realise the emotionally damaging effect that Carrie is experiencing from the groups’ cruelty. She begins to reflect on how to help Carrie regain her self-confidence, enlisting her boyfriend Tommy (Harry Moorby) in an idea to show Carrie a little kindness. Events lead to a shocking conclusion.

Carrie’s homelife is not a happy one. Over the meal table, her overprotective mother Margaret (Felicity Amos) shows intense religious fervour, smothering Carrie in lectures about her reverent devotions and how her daughter should behave. Felicity’s performance showing Margaret’s destructive fanaticism was outstanding. Her singing and stage presence where she is towering over Carrie, both physically and with her words, were so intense that I was feeling how Carrie would have been feeling – terrified!

Kayla delivered a captivating performance of Carrie, subtly changing from someone unsure and beaten, to a strong, angry girl who realises her telekinetic powers and her potential to fight back, with devastating consequences. Her opening song, “Carrie” mesmerised me, with many different tempos and styles showcasing her versality.

Jordan’s powerful portrayal of the cruel Chris was convincing; her singing and mocking attitude while ridiculing Carrie effectively revealed Chris’ scheming nature. Emily’s character Sue was at the opposite end of the spectrum. In a world where teenage followers typically conform without question, Emily’s depiction of her character’s self-awareness and decision to break away from her friends felt genuine.

Co-Directors John Hanna and Blake Williams have put together a well-crafted musical. The production team included the musical director Lindsay Kaul, and costume designer Katie Griffiths (the 1970’s clothing was funky – especially the prom tuxedos, shirt front frills and all!) I was impressed with the sound design (Kieran Vella) particularly at the musical’s introduction with the foreshadowing of the crackling fire, and use of lighting throughout the show (LKR Productions and Blake Williams) which added dramatic elements effectively. Although the use of props was minimal, Blackout Theatre Company’s use of projection (Adam Ring) on the back wall to set the scenes was effective, showing the audience without the need for revolving floors and detailed physical backdrops where everything took place.

“Carrie the Musical” is not a typical ‘feelgood show’; there are no dancing in the aisles at the curtain call and no happy endings where the hero/heroine triumphs. Although I had neither read the original novel nor seen a performance of this musical before, I knew the premise of the story. As a fan of musical theatre, I was unsure of how a horror novel could be successfully adapted into this genre. However, I was impressed by the cast and ensemble’s storytelling which, through the music (Michael Gore), lyrics (Dean Pitchford) and expert choreography by Jane Houlihan, delivered a powerful and thought-provoking experience. Kudos to the seven-person live band which made the musical so much more brighter in sound, than a pre-recorded backing ever could.

This production effectively showcased the horror of abuse and highlighted the importance of kindness and empathy. This is as relevant today in high school and life, as it was fifty or so years ago when Stephen King’s novel was first published.

The Blackout Theatre Company’s production of “Carrie the Musical” plays for three days at the Pioneer Theatre, and it seems a shame that it’s only running for a such a short run. The effort invested to create this captivating musical makes it clear that it deserves an extended season – in Carrie’s words, “…this might be the start of my journey, out of the shadows, and into the light!”

Theatre: Pioneer Theatre 12-14 Pennant St, Castle Hill
Dates: 21- 23 November 2025
Time: 2 hours, with interval
Tickets: www.pioneertheatre.com.au/whats-on/carrie-the-musical

To book tickets to Carrie: The Musical, please visit https://www.blackouttheatre.com.au/.

Spread the word on your favourite platform!

A Festival of Storytelling Delights in the Northern Beaches

22/11/202516/11/2025 Linda Lokhee🏆🥇🦉

The Manly Festival of Short Plays 2025 Rating

★★★★★

Click if you liked this article

It takes innovative storytelling to script an approximate 10 minute play. In just a small sixth of an hour, there must be many elements that pool together succinctly to hold the audience’s attention and to simply make sense. Just like a jigsaw puzzle as the minutes slide by, each piece that is put together slowly reveals more and more until, as the last couple of minutes creep up, the picture is complete and all is revealed.

The Manly Festival of Short Plays is one such puzzle, presenting twelve original Australian short plays performed by 39 actors from Manly Theatre Group. These plays are presented over a two week performance period, split into showcasing six plays in week one and six plays in week two. I watched the six plays plays in week 1 and was impressed with the tapestry of themes relatable to the modern audience.

The first play “Cleared for Take Off” was written and directed by Shelley Ross, an avian journalist. It takes us inside the cockpit of a QANTAS plane. Callum Horan, as the First Officer, is the newbie. He’s clearly nervous about meeting the infamous Captain, played with believable super confidence by Lee Sarich. As a storm approaches when the aircraft is in the air, the First Officer is faced with life changing decisions. The First Officer is capable, we can see that, but the play focuses on his internal struggle with being able to have the bravery to question the decisions of his superior and follow his own instincts. The Captain has a strong authoritative leadership style, thanks to Lee’s commanding presence. Callum’s portrayal of the First Officer’s anxiety had me on the edge of my seat!

The second play “Shred or Keep” was written by Cassie Matheson and directed by Frank Byrne. This was a play featuring Phoebe Brian as Simone and Sophie Burton as Penny, Simone’s mum. Set in the home office of Simone’s deceased father, she is helping her mum sort out paperwork. Two boxes lay at their feet with the two words in the play’s title facing the audience. As they go through her father’s desk, Simone comes across something that shocks them both. The dialogue between mother and daughter is the key to this short play and is delivered perfectly by the actors. Sophie delivers Penny’s pointed and not so pointed comments at her daughter in sharp barbs, and we feel Simone’s reactions.

The third play before a twenty minute intermission was “Gold Star Parents” written and directed by Chantal Harrison. It focuses on a ‘new parent’ group, led by an overenthusiastic Barbara ( brilliantly played by Phillipa Coleman). The giant gold cardboard stars with the dangling safety pin was funny, and we laughed as she deemed some parents worthy of its status. This had a relatively large cast of six, a challenge for a 10 minute play for character development which they pulled off perfectly. Each character had their own family unit different from each other and their stories were examined in this short period. Well done to Charlotte Chandler, Claudia Limpert, Max Shadbolt, Chantal Harrison and Audrey Minami along with Phillipa, who shared the stage, as they bounced off each other to show the audience that there is no “one size fits all” when it comes to family units and giving advice. There are messy moments and identity morphing when someone becomes a parent, and a parent group leader too!

After intermission, we saw “Faded Flowers” written and directed by Annie Gurton. This is the story of two women, Iris, portrayed by Rowena Robinson and Rose, played by Caroline Pearce who meet through very different circumstances. This is a story of two homeless women, and the writer’s message of the social impact of homelessness in woman over fifty and the resilience of these woman was strong. Rowena played her character Iris’s positivity brightly, and Caroline’s Rose had an inner strength that shone through. I liked Iris’s cap, which was plentiful with pins. It made me think that in another life, this lady had travelled. How had it come to this, with her living in a car? Above all, the message of being kind, to each other and to have it bestowed upon you is a gift. These ladies are not faded flowers, despite the play’s title and their given names, but perhaps that is what we needed to remember.

The fifth play, “Unfolding Harry” was written and directed by Barbara Courtille. An investigative journalist, Harry Bennett, played by Gavin Woodford sets out to uncover and expose a potential scam – that of Suzi Sock. Mina Vu portrayed Suzi with zen and mesmerising calmness, so much so, that her character’s worldwide “Sock Chi” which earned her 50 million followers and no doubt a ton of money from her health retreats, seemed believable. This had a few exaggerated comedic moments in it, which the audience appreciated.

The last play, “Losing the Plot” was written by Carlin Hurdis and directed by Paul Kininmonth. The originality of the story unwound itself, changed through the short ten minutes and I loved the ride! Cindy, portrayed by Angharad Thompson-Rees, first approaches Keiran, played with an innocent charm by John Cross, (an eco-cemetery manager) to enquire about a new age green burial. She feels this may well be the right final resting place for her globe-trotting, nature loving mum. The plot thickens, excuse the pun, as we come across a father and son carrying a corpse who intend to use this area to do this very same thing… an eco burial! With brilliant acting from Tony (the semi-retired hitman), portrayed by Jeff Parsons, Issac West as Marcus (Tony’s reluctant son) and the return of Callum Horan to the stage—this time as Darrell, a corpse (he previously played the First Officer in the opening play), Losing the Plot’s script delivered a fast-paced and hilarious experience!

Time flew watching these six plays, which is a testament to the skill of the playwrights. The themes were varied, and each performance was engaging and had the audience’s attention. My two favourite plays were “Cleared for Take Off” with its suspense anxiety driven, yet comedic, script and “Losing the Plot”. This collection of plays from the Manly Theatre Group showcases concise storytelling at its finest! Don’t miss it—you’re sure to be impressed and leave with a couple or more of your favourites too. It left me wanting to attend the second lot of six short plays.

Season run: 13 – 22 November 2025
Venue: The Sky Theatre. St Andrew’s Hall. 56 Raglan St Manly
Tickets: www.manlytheatregroup.com

To book tickets to The Manly Festival of Short Plays 2025, please visit https://events.humanitix.com/manly-festival-of-short-plays-2025.

Spread the word on your favourite platform!

Seed Hunters – A Global Movement for a Better World?

19/10/2025 Linda Lokhee🏆🥇🦉

Seed Hunters Rating

★★★★★

Click if you liked this article

What if the world we live in could be peaceful? This is one wish that many people, me included, could hope for in our lifetime. What if people could make this happen by conceiving children who will become men who are less aggressive and less of the “toxic tough guy”?

Scene Theatre Sydney’s play, Seed Hunters, made its premiere debut at the Pitt St Uniting Performance Space, and this question is one which is explored by a group of women. They are known as “Seed Hunters”. This is a movement of women from all over the world who, based on science, they believe that men of mixed ancestry are more likely to be more intelligent and less combative.

Set in Peking in 1976, students are invited by the Chinese government into a post-Mao world. It’s here that Rosa (portrayed by Fabiola Pellegrino) attempts to seduce a young Australian named Bob (played by Micah Doughty). Nearly 40 years later in present time in Australia, Bob discovers his niece Bridget (portrayed by Julia Grace) is a part of the Seed Hunters movement.

Julia Grace delivered an earnest and compelling performance as Bridget, capturing her youthful idealism and determination. She investigates women’s groups in ancient Greece, the Hopi Indians in Arizona, and various other women who study men, all in search of the perfect match. Bridget befriends Larry (played by Oliver Harcourt) and the audience learns what it is she wants from him. (“I need Larry and his mixed-up genes”)

Meanwhile, Bridget’s sister Sarah (Madison Chippendale) returns home to be reunited with her. She has news of her own. Larry’s brother Jack (Theo Rule), a kids show host with no kids of his own, reacts with shock when he learns of Bridget’s plan. The girls’ grandmother, Dorothy (Joan Rodd), takes the opportunity to share her thoughts directly with her granddaughters.

There are a lot of characters in Seed Hunters – with a cast of eleven sharing the stage, telling their different stories interwoven with art, the stars and history. The director Melissa Paris reminds us that “the seeds of transformation are planted by real people…whether through protest, parenting, music, art or simply refusing to stay silent, their stories echo today’s struggle and dreams.” Themes of self-identity and grief were intermingled with family dynamics.

The cast also took on various tasks, such as turning pages on a stand positioned at one side that displayed the names of the characters’ locations. These titles might have been more visible if they were larger or positioned slightly higher. The staging featured multiple levels, and a sense of intimacy was achieved through the characters’ interactions along the central aisle. However, since the play took place in a large venue with a high ceiling, I occasionally had trouble hearing some of the dialogue. Seed Hunters sound and lighting designer Jay Murrin chose some songs which were beautiful, providing the perfect atmosphere that complemented the scenes.

On leaving this performance, there were a few discussion points that came up from this very interesting concept. What will this seed hunters movement evolve into, in the future? Is this the way leading to a peaceful world?

Seed Hunters was written by Australian playwright Carol Dance.
Season run: October 17 – October 26 2025
Venue: Pitt Street Uniting Church Performance Space, 264 Pitt St, Sydney
Duration: Approximately 105 minutes
Tickets: Students $35, Concession/ Senior $45, Adults $55
www.ticketebo.com.au/scene-theatre-sydney/seed-hunters

To book tickets to Seed Hunters, please visit https://www.scenetheatresydney.net.au/seed-hunters.

Photographer: Robert Catto

Spread the word on your favourite platform!

Quirky and Tasty – Chicken in a Biscuit

09/10/2025 Linda Lokhee🏆🥇🦉

Chicken In A Biscuit Rating

★★★★★

Click if you liked this article

It is difficult to imagine a world without animals and the love of a pet. When I was sent by What’s the Show to review Chicken in a Biscuit, I had read the synopsis and the line, “Welcome to the hilarious, heartfelt world of your pet’s inner life”. I was instantly intrigued. The synopsis said that there would be animals such as dogs, cats and bunnies featured and – full disclosure – this reviewer has loved being a pet mamma of two out of three of these animals (not the cat, and also from the title, I have not had chickens either!)

Whether you’ve been a pet parent or not, you’ll be captivated by the stories in this uniquely original play from Fixed Foot Productions. The play combines sharp, witty comedy filled with clever one-liners with moments that are emotionally charged and, at times, confront deeply serious themes head-on. Through skillful acting and seamless transitions between characters, Mandy Bishop and Jamie Oxenbould reveal the raw realities of life as an animal companion and the profound impact pets have on their human owners, and they on us.

Chicken in a Biscuit begins as the audience are being seated. There is a brown dog, later on we discover his name is Truffles Bolton, napping on the lounge in the corner, legs twitching in blissful sleep. The mood is calm; peaceful. When he awakens, Truffles, played by Jamie Oxenbould introduces the audience into his olfactory world. Whereas humans see in visuals, this senior 13 year old labrador dog introduces his favourite smells and how they represents the triumphs and failures of life. He gestures toward his human, Gary, who is affectionately portrayed and projected on the wall. He is head down in the toilet. It was comical as I initially thought his head was in the toilet because he had too much to drink that night. Then Truffles said he was a plumber, so that joke was cleverly woven in.

What follows is a series of monologues, seamlessly performed by the two actors as they alternate between characters, each one delving into five distinct scents, each carrying its own unique story. These scenarios form the basis of a cleverly constructed and connected narrative and the way it is presented showcases pure creative brilliance!

Bishop slinks onto the stage wearing a velour blue jumpsuit and kitty ears. She was a royal Blue Burmese pedigree kitty, talking disdainfully about her new owner Lisa Wilson, who adopted her from Janelle Paws Animal Rescue. This sassy cat owned the stage and made it damn clear that no-one, not even Lisa Wilson, would dare “own her”. Kitty had the attitude of a queen as she told the story of her previous owner named Vernon, who she seemed to adore but sadly he passed away, and as a result she went into the animal rescue shelter. Bishop was mesmerising as the cat – everything about her was cat-like, from the way she moved to her mannerisms and expressions.(The one time she was not regal, was when she could not help but play and scramble with a bag, a relatable type of cat play which had the audience laughing) Her description of Lisa Wilson was that of the stereotypical ‘cat lady’ which was very funny!

Dr Graeme Nestbender (Oxenbould) was next, a dentist who, after his marriage fell apart, fell in love with the simplicity of the life of his pets, the many rabbits who lived at (overtook) his house. The story was a strong one, and was presented to the audience as though we were the board, and had the power to take away his practising license. As his explanation for how he came to be in this position formed, it became clear that the underlying message was not about crime. Dr Nestbender was torn between two species, being cocooned safely in a rabbit suit which felt right, and his loneliness as a human. Oxenbould’s emotional performance as the dentist was outstanding, his character far different from how we had previously seen him as Truffles.

Bishop followed, this time portraying a dog. Super loyal to her owner Pam, this dog named Maximus, Decimus Fonzerelli was fiesty! His unwavering love for Pam and the absolute dislike and distrust for Pam’s boyfriend Terry left him in a pickle. He was tied up with a bark collar and although he was tethered by the leash and banished by the awful Terry, this dog would do anything to protect his beloved Pam.

Oxenbould returned to the stage as the beloved owner of Paisley, a pug who had attained a cult following on his Instagram page because of his variety of gorgeous outfits. In this monologue, the owner was grieving, doing a live eulogy online (with the cutest pictures projected for us to see) and telling Paisley’s story, which turned out to be a warning of the ups and downs of stardom.

Before Truffles came back to close the play, one more character’s story was told – Janelle, played by Bishop. We hear Janelle interviewing Lisa Wilson at the time when she had applied to adopt Fonzerelli. Told from this point of view, with Janelle’s relentless and sharp questions fired like bullets into the phone, combined with the Burmese Blue’s description of her, I felt like both had completed the character of Lisa so clearly that she was indeed another character in the play.
The writers, Jamie Oxenbould and Mary Rachel Brown, skillfully incorporated the unseen characters from the monologues, making this two-person play feel like it had a much larger and lively cast. Congratulations to them both on their Australian premiere, and especially to Brown, who also directed this gem.

Chicken in a Biscuit offered a funny yet tender and heart-wrenching exploration of what it means to be truly known, regardless of species. It reflects on the stereotypes we hold about those we think we understand, and highlights the transformative power of love in shaping our lives. As we exit the Old Fitz Theatre, we are invited to contemplate the thought-provoking question posed by the wise old chocolate lab at the beginning, Truffles Bolton: “What does your life smell like?”

Season run: 3 October – 18 October 2025 at the Old Fitz Theatre, 129 Dowling St, Woolloomooloo Sydney
Run Time: 80 minutes no interval
Tickets: www.oldfitztheatre.com.au/chicken-in-a-biscuit

To book tickets to Chicken In A Biscuit, please visit https://www.oldfitztheatre.com.au/chicken-in-a-biscuit.

Photographer: Becky Matthews

Spread the word on your favourite platform!

Spread the word on your favourite platform!

Spread the word on your favourite platform!

Spread the word on your favourite platform!

Connect Online