Nostalgic, Hilarious, Infectious Fun for Fans Old and New!

Stranger Sings! A Parody Musical

Stranger Sings! A Parody Musical Rating

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The Eternity Playhouse Theatre in Darlinghurst is a perfect blend of plush red velvet and modern design, creating a space that feels rich with history, despite modern touches. To the side of the stage, a small band waits eagerly, giving that unique thrill only live musical theatre provides. Early show wrinkles were handled with humour and camaraderie, immediately setting the tone for a show that thrives on both chaos and connection.

Stranger Sings! The Parody Musical is exactly what its title promises: a satirical, joyfully camp reimagining of Stranger Things. Across 90 minutes, Hawkins is gleefully turned upside down, with the iconic core four; Mike, Lucas, Dustin, and Will; at the story’s centre. Each young performer captures their role with razor-sharp comic nuance. Raven Swinkels gives Eleven both haunting presence and playful edge, while Anouk Macarthur Mitchell leans into Will’s fragility with endearing self-parody. Julien Daher’s winning Dustin brims with charisma, Ruben Aguilera hits the mark as earnest Mike, and Jahzara Mariasson brings fiery energy to Lucas.

And then, of course, there’s Barb. Belle’s powerhouse vocals ensure justice is not just served but belted to the back row, a standout that lit up the night. The wider ensemble provide a constant stream of physical comedy and energy, morphing into bullies, scientists, and perhaps most memorably, a gloriously camp Demogorgon. Together, their knack for timing and willingness to push into parody’s extremes kept the show fizzing with momentum.

 

 

The production is deliberately low-fi in its design, which only adds to its charm. Simple staging is enlivened with clever costumes, witty choreography by Anna Jaques, and inventive ensemble work that makes even the scene changes cheekily entertaining. Musical director Mitch Brown guides the band through a synth-heavy score that perfectly skewers the 1980s vibe, layered with inside jokes and knowing winks to pop culture.

Vocally, the cast are outstanding. Occasional mic issues threatened clarity, but the performers carried through with enough charisma and vocal strength that the cracks only showed how strong the foundations were.

What elevates Stranger Sings! beyond parody is its cheeky breaking of the fourth wall. These playful intrusions make the audience co-conspirators, reminding us all that this is both fan satire and affectionate send-up. Even for those of us who lost track of the show past season three, the humour lands. The references are sharp enough for superfans, yet broad enough to keep casual viewers grinning throughout.

Above all, the joy radiating from this young cast is infectious. They aren’t just parodying Netflix’s most nostalgic property; they’re celebrating the simple delight of putting on a show with gusto, fearlessness, and a palpable sense of fun. To see so much future talent unified in delivering something this funny, smart, and warm is a treat, and a reminder that Sydney’s next wave of performers is already here.

Did I want to leap onto the stage to join them? Absolutely. And that’s the upside-down magic of Stranger Sings!: a parody that revels in its chaos, and a cast that makes you want to be part of the ride.

To book tickets to Stranger Sings! A Parody Musical, please visit https://sydneyfringe.com/events/strangers-sings-the-musical-parody/.

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Colour and Light: The Art of Sondheim

Colour and Light: The Art of Sondheim

Colour and Light: The Art of Sondheim Rating

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Buckle in. There is going to be a lot of hyperbole in this review. When something is this good, how else can you describe it?

Colour and Light: The Art of Sondheim, presented by Watch This at Theatre Works, is less a musical revue and more a velvet-draped love letter to the genius of Sondheim. It’s the kind of show that slips under your skin, reshapes your idea of what cabaret can be and sets a new standard for how theatre should be made.

Theatre Works is perfect venue for this show. It balances epic with intimate, using the high ceiling to hang long luscious drapes but keeping the audience close enough that we felt every word on the stage. Designer Rob Sowinski has conjured a stage that feels like a plush, lived-in lounge room (art deco drinks trolley and all) with a circle of tiered staging, bathed in the soft glow of vintage table lamps. It’s intimate and luxurious.

What follows is a breathtaking journey through Sondheim’s songbook. Yes, the big numbers are here, but so are the deep cuts and the “why-don’t-more-people-sing-this?” gems. I’m sure Sondheim diehards will know that he wrote songs for the 1990 film, Dick Tracy, but I had no idea and it was a revelation to hear music from the soundtrack on the stage. The show flows with purpose and precision, thanks to the clean, intelligent direction of Melanie Hillman and Dean Drieberg, whose love of the material radiates through every moment. The loose thematic arc is shaped around Seurat’s artistic principles of Order, Design, Tension, Balance, Harmony. The structure gives the evening clarity without ever feeling constrained or contrived. This is cabaret at its best.

And then there’s the music.

 

 

Dr Trevor Jones, who arranges, musically directs and performs from the piano, is the beating heart at the centre of the piece. His arrangements are stunning. They are lush, showy when needed, simple when called for and always with a focus on the emotional truth of the songs. This is some of the finest musical storytelling I’ve heard on a Melbourne stage and reminds me why, when done well, musical theatre is one of the greatest art forms ever.

Johanna Allen is a master of her craft. Her ability to navigate the razor-thin line between vocal fireworks and emotional restraint is unmatched. She brings a knowingness to the stage that draws the audience in and lets us share the humour and pathos in all of her delivery. There are countless moments she channels such precision and ache that you could feel the entire theatre holding its breath. This is vocal acting of the highest order.

Vidya Makan broke my heart multiple times across the night. There’s an emotional directness to her performance that’s magnetic. Her choices are always fresh, never predictable and she elevates everything she touches with nuance and grace. Her I’m Still Here was a stand out moment in a evening of stand out moments. She gave us an exquisitely rendered journey from introspective calm to triumphant exuberance with countless little gut-punches along the way.

Nick Simpson-Deeks, as ever, delivers with polish and pinpoint clarity. He finds the architecture in each song, builds it, then knocks it down with a smirk or a sigh. It looks effortless, but this has to have been crafted and perfected over years. His Send in the Clowns has ruined every other version for me. Honestly. It needs to be bottled and prescribed to every aspiring performer and every audience member.   It is good for the soul.

Jacob Rozario brings vibrant charisma and thrilling musicality. They shift gears effortlessly from the ridiculous to the sublime and their voice is an instrument of total control and warmth. There wasn’t a moment when their performance wasn’t a captivating blend of playful, detailed and vocally dazzling. His delivery of Can That Boy Foxtrot will stay with me for a long time. 

Colour and Light: The Art of Sondheim elicited a palpable love in the room, not just for Sondheim, but for collaboration, for precision, for joy. The audience left buzzing, visibly moved and audibly delighted. As for me? I’ve already booked to see it again.

This is one of the finest tributes to Sondheim I’ve seen anywhere in the world. Don’t miss it.

To book tickets to Colour and Light: The Art of Sondheim , please visit https://www.theatreworks.org.au/2025/colour-and-light.

Photographer: Ben Fon

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Takacs Quartet with Angie Milliken

Takács Quartet & Angie

Takács Quartet & Angie Rating

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The Concert Hall at QPAC is a superb venue for performances such as the Takács Quartet, with the majestic Klais Grand Organ with its 6,500 pipes creating a striking visual backdrop. Yet the quartet was never overshadowed by the gleaming pipes or warm wood tones; instead, all eyes and ears were firmly fixed on the stage.

Musica Viva marked its 80th birthday in consummate style, celebrating the collaboration between these distinguished musicians, composer Cathy Milliken, and her sister, AFI Award–winning actor Angie Milliken.

Formed in 1975 at the Franz Liszt Academy in Budapest, the Takács Quartet now features Edward Dusinberre and Harumi Rhodes on violin, Richard O’Neill on viola, and founding member András Fejér on cello. Associate Artists at London’s Wigmore Hall, they are currently touring Europe, including Amsterdam, Berlin, Florence, Bologna, and Rome. To hear them here in Brisbane was a rare privilege.

The evening opened with Haydn’s String Quartet in G minor, Op. 74 No. 3 ‘The Rider’ (1793). Across its four contrasting movements — from briskly energetic to gently lyrical — each musician’s artistry shone.

 

 

Musica Viva’s commission, Sonnet of an Emigrant by Cathy Milliken, set eight of Bertolt Brecht’s poems written during his exile from Germany in WWII. The work captured Brecht’s shifting emotions of shock, longing, urgency, reflection, and cautious optimism, weaving his words seamlessly with the quartet’s music.

Narrator Angie Milliken delivered Brecht’s sonnets in both English and German, her voice rising and falling in perfect counterpoint to the strings. Naming herself the “fifth instrument,” she embraced the intimacy and challenge of matching spoken word to musical intent.

The audience sat in rapt silence, spellbound by the performance. The marriage of poetry and music was so vivid that Brecht’s words felt almost tangible, as though the audience could both hear and see them.

After interval came Beethoven’s String Quartet in C major, Op. 59 No. 3 ‘Razumovsky’ (1808). Its movements ranged from stately and graceful to the exuberant, whirlwind finale (Allegro molto), played with astonishing verve.

Animated and passionate throughout, the Takács Quartet radiated their own delight in the music, and the audience shared in their exhilaration. For seasoned concertgoers and newcomers alike, this was a wonderful evening of world-class music-making. Brava!

To book tickets to Takács Quartet & Angie, please visit https://www.musicaviva.com.au/concert-season/2025/takacs-quartet-with-angie-milliken/.

Photographer: Cameron Jamieson

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How Classical Music Can Feel Modern And Accessible

Elevator Music

Elevator Music Rating

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The Omega Ensemble’s Elevator Music, consisted of Anna Clyne’s Stride, Gaeme Koehne’s Dances on the Edge of Time and Aaron Copland’s Clarient Concerto. The concert was deliciously familiar and heart-warming. In particular Koehne’s work sampled familiar melodies, acting as a postmodern classical music DJ of sorts. The lively and energetic ensemble wove both old and new classical music, bringing to life a new and harmonic story through sound. The music was postmodernist and playful, referencing and recycling beloved melodies. The clarinet soloists (Michael Collins and David Rowden) pression and control, particularly their purity of tone in the upper registers, exhibited a mastery of the clarinets transition between registers.

The first piece began with, what seemed to me, crisp personality and warmth, benefitting from the expressive first violin, Véronque Serret. The music continued ominously and atmospherically, effectively building tension and my anxiety (as I assume the composer intended). The piece felt like story telling through sound, a fearsome loathsome tale that swiftly transitioned from hopeful to fearful. The tone was clearly conveyed in a way that listeners unfamiliar with classical music could feel and understand.

 

 

Dances on the Edge of Time introduced the two clarinet soloists, Michael Collins and David Rowden (also the artistic director). The clarinets ushered in a warmth and airy lightness. This was mirrored in the addition of the piano (Vatche Jambazian). In this piece the two clarinets blended deliciously with a foundation of sound built by the orchestra. All the musicians were playing and toying not just with sound, but volume too, which drew out swirling emotions from the audience. Koehne’s work continued to be heart warmingly nostalgic, as intended, the program noted that Koehne prefers warmth, clarity and lyricism over “the cliched angst and ponderousness of so much ‘respectable’ new music.” I tend to agree, and found the soulful, thoughtful and playful music, particularly the call and response from the clarinet soloists, to be moving and enjoyable. Koehnes orchestration is at times reminiscent of ravel’s colouristic effects

The Clarinet Concerto began slowly and gently, guided by the harmonic direction of Michael Collins. The piece was played as hopeful and dreamy, and produced feelings of wistfulness within me. I was brought along a journey that the artists wanted the audience to follow, it was twisting path of beauty and cool breezes. This piece continued, picking up speed and energy, with an ominous shift in orchestration and accompaniment. The clarinet soloists, however, continued with a light and energetic harmony, containing more call and response weaving in well-known classical melodies to the modern music. The piece continued with the whimsy highlighted by the double bases (Adrian Whitehall and Jacques Emery), powerfully building and breaking the tension of the music.

The concert ended with a surprise encore and world premiere of a reworked (for two clarinet soloists) piece called Ornamental Air. The encore began with a sense of urgency from entire orchestra. This piece continued with the playfulness of the previous works. The clarinets were delicately and deliberately light and harmonious. It was a delightful end to a lovely evening of music that moved me, and took me along a journey through my mind.

To book tickets to Elevator Music, please visit https://www.melbournerecital.com.au/whats-on/current-productions/omega-ensemble-elevator-music.

Photographer: Eloise Coomber

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