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

Once On This Island

Once On This Island Rating

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

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

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

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

 

 

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

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

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

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

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

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

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

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The Golden Shine of Trophy Boys – at Carriageworks

Trophy Boys

Trophy Boys Rating

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5

The setting for Trophy Boys at Carriageworks was simple. A spinning whiteboard, and high school tables and chairs; a typical classroom. However, the themes in this dark satire are not simple – and the 70 minutes are spent delving into what it means to have the youthful arrogance of being seventeen, a privileged life and the perks that come from attending an exclusive boys’ school.

It is the night of the final Year 12 debate between St Imperium College and their sister school. The four boys, Owen, Scott, David and Jared, are preparing to confidently obtain the trophy and the glory of winning, especially after winning for many consecutive years beforehand.

However, the board spins around and the topic they are to argue clearly throws them into panic. Their topic is to argue that feminism has failed women. Their initial reaction showed their fears, that they did not want to be cancelled, or portrayed as an anti-feminist. “I love women!” Jared (Fran Sweeney-Walsh) declares several times throughout the show. Is Jared trying to convince the audience, or himself? Sweeney-Walsh created a believable Jared, a jock who I could imagine being comfortable on the footy field with his mates, as well as having high tea in the Queen Victoria Building with his mum.

In one of the play’s initial scenes, where the four friends perform a type of strip tease dance for the audience garnered many laughs from the audience. This posturing of the boys showed their youth and confidence, and by the end of the play, I wondered if this scene had a deeper meaning. Perhaps the deliberate choice of having a non-binary and female cast dressed in drag, and as boys, doing a strip tease, presented a masculine point undermining feminism? Or it could simply have been a bit of comic relief of teenaged boys, before the heavier topics arose.

 

 

The audience doesn’t get to see the actual debate. This play is in real time, of the discussions and secrets revealed about each student during the pre-debate prep session, and this is what makes Trophy Boys original. By being an observer, the audience is taken along into a performance focusing on each boy’s character, all of whom consider themselves to be elite in their fancy school uniforms adorned with badges (from the cast’s actual school days), but whose actions provoke suspect as each boy’s façade is exposed. The name of their school, St Imperium College, already exudes ‘absolute power’ as does the name of the play, and I felt that at the beginning, the boys would have considered themselves as somewhat a “trophy” to anyone they dated.

All cast members had powerful performances, with Gaby Seow as Scott and Leigh Lule as David carrying the story further. Myfanwy Hocking as Owen delivered a speech towards the end which captivated the audience. Lighting designer Katie Stefkidis’ spotlight on the characters provided a sharp impact to their words.

Trophy Boys’ writer Emmanuelle Mattana was a competitive high school debater so could bring the nature of the preparation to the stage. She had been subject of misogynistic remarks from boys in the opposing debating team, and a historic sexual assault allegation from 1988 spurred her on to write Trophy Boys. Mattana also took on the role of Scott onstage from 2022-2024.

Directed by Marni Mount, Trophy Boys is a social commentary about the ingrained nature of toxic masculinity in today’s world, homophobia and the power of privilege that protects its own people, no matter what.

I saw Trophy Boy’s opening performance on Thursday 24th July 2025, which ended with a standing ovation.

Trophy Boys is playing at Carriageworks from 24 July to 3 August and will be touring at the Riverside Theatre from 6- 9 August 2025.

www.carriageworks.com.au/events/trophy-boys-2025
www.riversideparramatta.com.au/whats-on/trophy-boys

To book tickets to Trophy Boys, please visit https://carriageworks.com.au/events/trophy-boys-2025/.

Photographer: Carriageworks,Ben Andrews

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Rehearsal For Murder: A Classic Murder Mystery That Keeps You Guessing

Rehearsal For Murder

Rehearsal For Murder Rating

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To me, a ‘Whodunnit Mystery Murder’ should encompass suspense, have interesting characters – each one having a cloaked shadow of suspicion, unforeseen twists and of course, an untimely demise. The Castle Hill Players performance of Rehearsal For Murder had all of this, and more.

Set in the 1950’s in an empty theatre on New York City’s Broadway, director Grant Brennan and the cast and crew drew us back to a time on the cusp of colour television where viewers were used to watching dramas in black and white. This theme was well integrated into the play, noticeable in the costume design of the main characters’ clothes which were all grey. Far from being a dull grey through, costume designer Leone Sharp ensured a timeless and classic feel.

The play opens with the narrator, Alex Dennison (wonderfully portrayed by Thomas Southwell) a successful playwright who lost his fiancé to an apparent self-harming circumstance one year ago. On this anniversary, he has invited his Broadway colleagues to partake in the reading of a new play he’s written, one which coincidentally, (or not so), involves the people who were last involved with his fiancé, actress Monica Welles shortly before her death. Alex’s script plays out certain circumstances that involve Monica and the characters and allows the audience to immediately see that they all have a motive to murder her!

Through cleverly orchestrated visual and audio theatre, the audience becomes involved with the plot, questioning who would benefit from Monica no longer being in the Broadway play. Who’s the murderer? Was it the best friend, Monica’s understudy? Her husband? The producer, an actor, director or the leading man? Through clever use of lighting (by Casey Moon-Watton) dimming and spotlighting at opportune moments, combined with sound effects and the use of The Pavilion Theatre’s space around the audience, it produced a dynamic atmosphere.

Showcasing the typical music of the time, sound designer George Cartledge creates a feel reminiscent of an olden-days radio drama. Alex Dennison narrates the play to the audience, with the backdrop of the music underlying his words. Thomas Southwell’s calm demeanour as a narrator carries the play’s tone throughout the performance.

A standout from this play was from Gina Willison, who portrayed the producer, Bella Lamb. She states that she’s ‘not an actor’, but Alex forces her to read the script he’s prepared, and I sympathised with her indignation at what she was forced to do.

Monica Welles, portrayed with an innocence by Lola Carlton, appeared not in ghostly form but as herself in flashback scenes. It was clever the way the scene seamlessly blended into the past, with Monica interacting with the other characters, each time leaving another hint as to what may have happened to her.

Rehearsal For Murder has a big cast. Brett Watkins (Leo), Ben Wheeler (David), Ella Rose Titterton (Karen) Brett Joachim (Lloyd), Sophia Laurantus (Sally) David Senior (Ernie), Chris Scarpellino (Man) and Melissa Applin (Loretta) all portrayed their characters well and created an interesting storyline. I attended the opening night, and as the production progresses, the New York accent should become more consistent.

During the interval, I heard various audience members talking. They were guessing, calling out the names of characters of who they thought ‘dunnit’. I had a couple of theories, based on who I thought had the most motive. Did I guess right? This was one of the most fun parts of a murder mystery – so I won’t reveal if I was successful or not! You’ll have to see the Castle Hill Players performance to find out.

Rehearsal For Murder is playing at the Pavilion Theatre from 30 May – 21 June 2025. To book tickets to Rehearsal For Murder, please visit https://paviliontheatre.org.au/rehearsal-for-murder/.

Pavilion Theatre
Doran Drive, Castle Hill
Tickets: $30 / Concession $25
www.paviliontheatre.org.au

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3 Malaysian Allstars Bring their Culture and Laughs to the Sydney Comedy Festival

Malaysian Comedy Allstars

Malaysian Comedy Allstars Rating

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3

In the Sydney Comedy Festival’s showcase, Malaysian comedians Kavin Jay, Rizel Van Geyzel, and Papi Zak took to the stage at the Riverside Theatre. They delivered a set filled with relatable anecdotes to an audience, the majority it seemed from their mother country, of their cultural observations. Their performances provided not only a glimpse into Malaysian life but also a humorous take on the quirks of everyday experiences in family and social life.

Kavin Jay opened the night with a blend of storytelling and observational comedy. His routine featured hilarious tales about his family, particularly his “Drugstore Aunty,” who dispenses medication to relatives for every conceivable ailment, even ignoring the seven year use-by date! Kavin Jay related personal stories and showed some into cross-border humour, joking about his neighbouring country, Singapore. His quips about the low crime rates there led to some laughter, especially the absurd image of a car chase lasting only 15 minutes before the criminal had to turn back due to the country’s tiny size. Kavin Jay’s jokes ventured into talking about everyone’s favourite topic- food. I particularly liked his view of the good old Bunnings sausage sizzle, as a culinary adventure fraught with danger.

Papi Zak followed Kavin Jay. His routine was a vibrant mix of observational humour and playful banter. He had a good rapport with the audience, which was a natural follow on, having had experiences hosting TV shows like The Halal Foodie and Happy Endings. Papi Zak was not shy about celebrating his own generous size, calling himself “Malaysia’s biggest comedian, (in size!)” and sharing his experiences with food and getting away with breaking some rules, by speaking in his American accent. It was funny to hear Papi Zak tell his stories in his American accent and peppering in Malaysian traditional sayings of “ay -yah!” and “lah!”. It was clever of Papi Zak to integrate Sydney’s unpredictable weather into his comedy routine, given our changeable current day to day weather, and this bit of localised humour enamoured him to the crowd.

Rizel Van Geyzel rounded out the trio with his positive energy that kept the audience engaged. Rizel’s easygoing retelling of stories relaxed listeners. One stand out part of the set was when he unveiled the ‘world’s sexiest Asian accent (according to a survey)’ -the Filipino accent! The introduction to this topic was entertaining, particularly with his anecdote about mishearing something a Filipino waiter had asked him, which had the audience in stitches.

His humour poking fun at himself shone through when he joked about being half Chinese and his amazing ability to grow facial hair, which perhaps some Chinese men relate to – as they are generally not seen with full beards and moustaches!

Another amusing moment was when Rizel talked about the Malaysian cultural practice of taking off his shoes when he went inside his non-Asian friend’s house. This personal story, where this custom was met with confusion by his friends, was enjoyable.

The night took a fun twist when Rizel introduced a special guest, Thomas, whom he had met on a plane on the way to Australia. Giving Thomas the chance to perform stand-up added an unexpected yet enjoyable element to the show. Thomas’s joke was well-received, and watching a comedian support a fellow funny person by giving him the opportunity to perform on stage and share his joke, was truly heartwarming.

Together, Kavin Jay, Papi Zak and Rizel offered an evening that celebrated not only the richness of Malaysian culture, but also the universal language of laughter. Their ability to weave personal narratives with broader social commentary left the audience in a good mood. Their performances were a testament to the power of comedy in bridging cultural gaps and highlighting shared human experiences.

The Malaysian Comedy Allstars was hosted at the Lennox Theatre inside Riverside Theatres in Parramatta and is part of the Sydney Comedy Festival.

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