So Good To Be Alive

New Now 2026

New Now 2026 Rating

★★★★★

Click if you liked this article

Omega Ensemble’s NEW NOW 2026 at The Neilson, further enhanced that reputation. The Neilson is a start-of-the-art performance space, nestled into the Walsh Bay Arts Precinct. Drinks in the foyer with the Sydney Harbour, in full view, make it a stunning experience. There’s something magical about having composers ‘alive’ and onstage, introducing their works and mingling with patrons. Yes, we will always yearn for the Mozarts and the Mendelssohns, but contemporary music ensures that the arts will continue to thrive. New composers must have forums to showcase their work.

The program opens with Robert McIntyre’s Solastalgia. Robert introduces his work by acknowledging Australian Environmental Philosopher, Glenn Albrecht. Solastalgia symbolises feeling a sense of homesickness whilst still being at home. Musically, the work is in two parts, Nostalgia and Solastalgia. Both parts have poetic qualities, via collaboration with Savanna Wegman. Nostalgia has an eerie beginning and then builds, ‘as steady arms of wind brush open’. Our environment is under threat, we mystically reflect. Solastalgia evokes a sense of urgency, ‘stretch the wingspan as spiralised skies hide in sandcastles’. McIntyre wants us to awaken our senses and connect with the world around us. Omega Ensemble beautifully captures the atmospherics of the music.

The second work, ‘a map to nowhere’, is by Jessie Leov. Jessie spoke about being inspired, after going for a walk in the forest with best friend Avalon and her toddler. Leov pondered the impact of the forest, with all it’s whimsical qualities, on a toddler’s senses. There’s a real playfulness to the tonality of the piece, capturing a toddler’s perceptions of a seemingly surreal world. A map to nowhere explores the concept of journey and where that journey might lead. It flows beautifully from Solastalgia. David Rowden on clarinet, truly excels in this piece.

 

The third work, The Cicerone Suite by Thomas Misson, is in four parts, Hefeweizen, Belgian-Style Blond, Dry Irish Stout, West Coast IPA. Yes, it’s a cheeky reference to beer styles and how there’s a correlation between the bitterness of beer and contemporary music. As the titles suggest, there’s a sense of fun and beguiling bewilderment. The reference to beer is an obvious attempt to breakdown an elitism that encapsulates classical music. Mark Ingwersen (Violin), Neil Thompson (in my opinion, the most impressive Violist in Australia) and Paul Stender (Cello) ensure these pieces soar.

Beth Roche’s The Lambton Worm, spectacularly rounds out the NEW NOW 2026 program. The Lambton Worm is a fourteen century legend from County Durham in North-East London, that details a battle between John Lambton and a giant worm (archaic term for dragon). John wins the battle, but the victory is a pyrrhic one, as a nine-generation curse is bestowed on his family. This work has a fable-like quality to it. It’s crushing crescendo beautifully closes the evening. Pianist, Vatche Jambazian, expertly delivers. The audience is on the edge of their seats with his assured dexterity. The Lambton Worm has potential to be a full-blown opera. Speaking to Roche in the foyer afterwards, she told me that the thirteen minute work took months and months to compose. The passion to the project, clearly evident.

The Omega Ensemble prove that they are a world-class company. The Neilson is an intimate space which is perfect for Omega Ensemble, because their performances always connect with the audience.

Spread the word on your favourite platform!

Top Silk, Top Class

Top Silk

Top Silk Rating

★★★★★

Click if you liked this article

1

David Williamson and Sydney’s Ensemble Theatre love each other. Whenever, Williamson pens a new play, he usually showcases it at the Ensemble. This time the Kirribilli-based theatre company, have resurrected a 1980s play, ‘Top Silk’. Interestingly a star from the 1989 production at Seymour Centre, Tina Bursill, was in the opening night audience. The playwright himself, David Williamson, was also in-attendance. I saw the original production, so felt a buzz of expectation as I entered the auditorium.

Jane Fredericks (Rachel Gordon) is a passionate legal aid solicitor who finds herself in a potentially tricky situation when she agrees to help an old flame from school days, Eddie (Jeremy Waters). Jane and Eddie grew up in Albury, but have taken much different paths. Jane’s father was determined for her to pursue a legal career in Sydney, whilst Eddie still has Albury connections. When Jane and Eddie meet again, it’s an awkward reunion. Jane is embarrassed by her once-snobbishness towards her former boyfriend and wants to make amends. Eddie is a small-time drug dealer, but is a facing a big gaol sentence. If Jane does get involved, there are immediate repercussions for her career and marriage to flashy barrister, Trevor (Nicholas Brown), who is intent on entering politics. Trevor Fredericks is a champagne socialist. We learn that he oversaw the eviction of housing commission tenants from a prime harbourside location, so the developers could move in. Trevor doesn’t want that issue to gain traction, as he seeks to be the Labor Party’s next Premier. An influential right-wing, media-mogul, Paul Bradley (Thomas Campbell), can give Trevor political expediency.

 

The growing chasm between the Fredericks is further tested by their differing parenting styles. Their son, Mark (Samir Nasser) is struggling academically, despite being at a posh private school. Trevor keeps paying for relentless bouts of tutoring sessions for Mark, but nothing seems to click. Jane, just wants her son to be happy and pursue his own dreams. Mark wears his Greenpeace t-shirt, to show that he is focused on the planet, not himself.

In typical Williamsonesque-style, as Trevor’s political aspirations reach full throttle, Jane’s association with Eddie, attracts the attention of power-broker, Tony Turner (Jamie Oxenbould). Turner threatens to expose Jane’s association with Eddie, as a way of derailing Trevor’s ambitions. However, Jane has a secret of her own to expose. After a brief affair with Turner, he pressured her to have an abortion. A stance that is in direct contradiction to his pro-life platform.

The play certainly gathers momentum in the second act. As the judge (Thomas Campbell) presides over Eddie’s case, the audience feels like they have been transported into a Downing Centre courtroom. The scene ends on a high (pun intended), as Eddie faces his fate. Jane and Trevor also face the fate of their marriage.

This 2026 staging of ‘Top Silk’, is a slick production. Mark Kilmurry being a devotee of David Williamson, has directed this play with obvious enthusiasm. Rachel Gordon is beguiling as Jane Fredericks. Gordon brings such warmth and likeability to the role. Nicholas Brown is utterly believable as the self-absorbed, Trevor Fredericks. He is in full bluster as the play reaches its climax. Samir Nasser as Mark brings authenticity. Samir has that star-is-born aura about him. Thomas Campbell relishes his role as the smug media mogul and is equally convincing as the experienced judge. Jamie Oxenbould brings a devilish quality to the shifty power-broker, Tony Turner. Laurence Coy rounds out the cast and is particularly adept as the crusty prosecutor. Williamson plays often sell-out at Ensemble, so book early!

To book tickets to Top Silk, please visit https://www.ensemble.com.au/shows/top-silk/.

Photographer: Prudence Upton

Spread the word on your favourite platform!

Bet You Laugh Out Loud

The Dapto Chaser

The Dapto Chaser Rating

★★★★★

Click if you liked this article

Yes, The Dapto Chaser, is about greyhound racing, but there are many other themes at its core. Mary Rachel Brown’s black comedy studies the intimate dynamics of family relationships and explores the ramifications of risk-taking.

The play opens with Errol (Peter Carroll), the patriarch of the Sinclair family, sitting in his lounge chair and wrestling with a scratchy, portable radio. (He’s attempting to listen to the dog races at Dapto.) Cigarettes, beers and an oxygen tank are close-by. Fiddling with the form guide in the newspaper, Errol announces he has Stage 4 lung cancer and that there’s no Stage 5! Carroll relishes his sardonic, sarcastic dialogue with exquisite coming timing. On opening night, the mainly actor-filled audience were in hysterics.

Errol fits the stereotype of an Aussie battler, living in a humble home, surrounded by bland furniture. He’s not despondent about his plight because there’s a belief a big win is just around the corner. His two sons, Cess, played with edge-of-the-seat intensity by Justin Rosniak and Jimmy, a character given a convincing edginess by Andre de Vanny, are constantly at war with each other. Cess has his own greyhound called, Boy Named Sue (an obvious reference to the Cash classic) and Jimmy works at the track as a dogs’ lure driver. Arnold (Marco Chiappi) is a bookmaker/ trainer who is always lurking. Chiappi plays the role of smooth sleazebag with aplomb. The Sinclairs’ lives are fully wound up with Arnold’s power plays, which always riled Errol.

We sense that greyhound racing is full of eccentrics. Brown is playful with the greyhound names. ‘Mum’s Bunion’, extracted lots of giggles from the audience. Having video projections of greyhound races, complete with commentary, adds to the whole experience. The high energy nature of gambling is felt.

 

 

When Errol dies, there’s an immediate sense of panic between the brothers. The funeral costs amount to nine thousand-plus dollars. The figure is problematic. A get-rich-quick scheme is needed. Cess decides to sell his dog, to offset the debts. The dog is worth fourteen thousand dollars, but Arnold will only pay ten thousand. Even so, the figure is accepted. Cess boasts that there’s money left-over for fancy sandwiches and Jimmy can get ham/ pineapple pizza.

Cess will not leave the greyhound world, but Jimmy decides to flee to the Gold Coast. (Cess hands him a hundred dollar note for petrol.) One senses that the brothers may never see each other again.

Ensemble Theatre’s production of The Dapto Chaser , is brilliantly performed. Director, Anna Houston, has the cast performing at the peak of their powers. Peter Carroll (if he was acting in England, he’d be knighted), Marco Chiappi (can do it all from Shakespeare to the TV Show, Wentworth), Andre De Vanny (extensive TV credits including Wicked Science) and Justin Rosniak (who made the transition ftom child actor to seasoned professional, decades ago, but I still fondly remember him from Eggshells with Garry McDonald and Rebecca Smart.)

Simone Romaniuk’s set design perfectly captures the mood of this working class family. Matt Cox lighting design, Madeleine Picard, composer and sound design and Aron Murray on video design, all work to make this is a thoroughly immersive experience.

Interestingly, I noticed actors from Griffin’s Theatre’s 2015 production of The Dapto Chaser, in the audience. Noel Hodda and Jamie Oxenbould, certainly enjoyed this performance. I bet you will too! On opening night, there was a standing ovation.

To book tickets to The Dapto Chaser, please visit https://www.ensemble.com.au/shows/the-dapto-chaser/.

Spread the word on your favourite platform!

Nothing Rotten Here

House Of Rot

House Of Rot Rating

★★★★★

Click if you liked this article

‘House Of Rot’, Hayes Theatre, Potts Point, is a stunning piece of cabaret by Dino Dimitriadis and Victoria Falconer. Inspired by the documentary, ‘Grey Gardens’, about an aunt and cousin to Jacqueline Kennedy-Onassis. These two wealthy women suffer a dramatic decline from wealth to poverty and become eccentric recluses. Paul Capsis and Adam Noviello have a blast playing these two lost souls. Capsis is Big Edie and Noviello is little Edie.

The opening number doesn’t feature the two protagonists. Victoria Falconer gives a beguiling rendition of ‘Windmills Of Your Mind’. What a voice! Her vocal skills and piano playing panache have the audience in wonder. ‘Windmills’ also closes the show. It’s such a poignant song for this cabaret. Falconer shines again when she performs a violin solo piece, which is deeply evocative.

Capsis and Noviello talk at the audience a lot. It’s their theatrical trick. This technique is particularly effective for their banter. When Capsis utters “that he misses boredom”, everyone erupts with laughter. Capsis’ comic timing is a skill to behold.

This cabaret has an eclectic mix of songs. ‘I Touch Myself’ ( a nude Noviello playing piano), ‘Tea For Two’, ‘Young And Beautiful’ and ‘I Am What I Am”. When the Capsis and Noviello combination really soars is when they perform a duet of Sondheim’s ‘Send In The Clowns’ and The Cranberries’, ‘Zombie’. It’s such a daring duet that works. Noviello is very tall and slim. (A contrast to the small, stockiness of Capsis). He glides across the stage in a haunted, rebellious fashion. When Adam sings, one can tell that he loves to really launch his voice. It’s powerful. Capsis does more than match this younger performer. It’s obvious these two actors know how to bring the best out of each other.

 

 

‘House Of Rot’, is a special production in a special space. The set with it’s black chairs, black walls and black floor, is striking. The actors are dressed in stylish black ensembles, as well. It all looks very slick.

Hayes Theatre in Potts Point, is quickly establishing itself as the place to be in Sydney. It’s a cosy theatre, which is perfect for the claustrophobic existence of these two recluses. Loneliness, aging and isolation are all put under the microscope.

Any time Paul Capsis goes on stage, there is an expectation that the show will be world-class. Being able to get up close and personal with the performers on this show, is thrilling.

‘House Of Rot’, is a 70 minute romp. The time frame doesn’t make you feel cheated. Quality triumphs over quantity every time. I’m sure Paul Capsis gets a standing ovation whenever he struts his stuff. He did his best to look genuinely surprised when the audience rose as one to salute him, Noviello and Falconer. I love Hayes Theatre too, for its intimacy. Musical theatre is joyous in a cosy space. The acting fraternity feel the same. At every Hayes performance, it’s easy to spot actors in the audience. They adore the place.

You’ll have to be quick to grab a ticket. This production will sell-out. ‘House Of Rot’, provides one of the most amazing theatrical experiences of the year.

To book tickets to House Of Rot, please visit https://hayestheatre.com.au/event/house-of-rot/.

Spread the word on your favourite platform!

Subscribe to What's The Show

Reviews, show news and what is on, straight to your inbox.