Life’s Journey with Rick Springfield

Late Late At Night: The Rick Springfield Story

Late Late At Night: The Rick Springfield Story Rating

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The Late Late at Night: The Rick Springfield Story promises a show with heart and nostalgia as the audience is taken down memory lane with the Australian-American icon: and it delivered.

Jackson Carroll’s flawless depiction as Richard Springthorpe, otherwise known as Rick Springfield, was a perfect balance of learning about the struggling musician’s life and performance of his classic hits. Although Springfield navigates heavy topics, including mental health issues and personal losses, Carroll showcased these struggles in a sensitive and somewhat endearing manner. The show acts as a reminder that the glorified icon who graced our radios with the rock and pop anthems Jessie’s Girl and State of the Heart is also a man trying to find his way.

The excitement of the audience was tangible as soon as the music commenced. Carroll immediately hooked in the audience with his emotive voice, alternating between the piano and guitars, helping viewers construct Springfield’s elusive world. The minimalist stage set-up, decorated with key pieces possessing significant meaning to Springfield, emphasised his isolated journey of discovering who he is; and what truly brought him joy. The use of lighting and audio recordings to construct the world of Springfield effectively reflected his declining mental health, as well as core events that led him down the path of self-destruction and self discovery.

The enthusiasm and energy Carroll maintained throughout the one-man show is highly commended, which was met with a standing ovation. The skill in carrying a show from beginning to end, jumping between monologues, different characters and the music of Springfield is remarkable. As he acted and sang, jumping between timelines and showcasing the origin of Springfield’s beloved songs, Carroll made it look effortless. One of the highlights of his distinguished performance was the seamless shift between all stages of Springfield’s life. We watched Rick Springfield address the audience like old friends before diving into his experiences as a boy, to a teen trying to make his dream a reality, a man that falls a part when fame does not give him everything he thought it would; to an icon that realises the true meaning of happiness.

Fans of Rick Springfield, old and new, will not be disappointed when they embark on this journey to learn about the man behind the music. The Late Late at Night: The Rick Springfield Story offers fans a chance to learn his story, but will also find themselves reflecting on the true meaning of happiness as they watch Springfield muster his courage to right his wrongs and find his purpose. Witnessing the story of the icon battle and overcome his lifelong struggles offers a gentle reminder that even those we idolise are indeed human, and just like them, we too can overcome our darkest days.

To book tickets to Late Late At Night: The Rick Springfield Story, please visit https://kierancarroll.com/rick-springfields-late-late-at-night/.

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Pursuing Pleasure

Pursuing Pleasure

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“Pleasure” is a concept humanity has pursued, defined, and debated for millennia—from Early Greek philosophers musings to Freud’s theories, from ancient Chinese philosophy to Egyptian mysticism.

In her deeply personal and compelling one-woman show, Pursuing Pleasure, opera singer Piera Dennerstein steps into this lineage of inquiry, offering her own story as both case study and celebration. Through an eclectic mix of musical selections—from Puccini to Cardi B—Dennerstein examines the rigid structures of her profession, the silencing of her voice, and the hard-won rediscovery of her personal joy.

The moment the audience enters the small, intimate theatre, they’re immersed in a world that feels equal parts boudoir and dreamscape. Soft pink lighting bathes the space; feathered chairs and velvet accents suggest sensuality and softness. A lone piano waits like a co-conspirator in the corner. The atmosphere is one of warmth and openness, setting the tone for the confessional yet theatrical journey ahead.

Dennerstein makes her entrance like a vision: glamorous, confident, and possessed of a voice that commands immediate attention. She opens with an aria from Carmen, a dramatic choice that immediately showcases her operatic prowess and establishes her as a powerful stage presence. Her voice—a heavy soprano—fills the room with depth and resonance, but it’s her storytelling that truly pulls us in.

 

 

As she begins to speak, Dennerstein draws back the velvet curtain on the world of opera, revealing a system that to outsiders can feel like an elegant but arcane secret society. With sharp wit and heartbreaking clarity, she explains how singers are typecast according to vocal “fach”—a system of classification that determines what roles a singer can audition for. It’s a rigid framework that values tradition above individuality, and Dennerstein invites us to see how such a system is also a gatekeeper of artistic expression. In this world, a single note sung incorrectly can mean losing a role; personal taste, emotional connection, or daring interpretation are often secondary to the mechanics of tone and volume.

Dennerstein’s own experience as a dramatic soprano—destined to sing the tragic, the regal, the doomed—becomes a metaphor for confinement. When she delivers a searing excerpt from Wagner, it’s clear she inhabits these roles with mastery. But when she speaks of her desire to sing something joyful, light, or flirtatious—and how the opera world deems these pleasures off-limits for her voice—we see the emotional cost of that confinement.

In the show’s second half, she shifts from analysis to revelation, sharing stories of rejection, emotional abuse, and the slow, courageous return to herself. Through pop music, humor, and fierce vulnerability, Dennerstein stages a rebellion against the rules she was trained to follow.

Pleasure is more than a performance—it’s a quiet revolution. In just an hour, we witness an artist stepping out of the roles the world assigned her and into the one she’s written for herself. By the end, Piera Dennerstein doesn’t just sing—she reclaims her voice. And that, in every sense, is a pleasure.

To book tickets to Pursuing Pleasure, please visit https://www.oldfitztheatre.com.au/pursuing-pleasure.

Photographer: Olivia Charalambous

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More Than Just A Dance Performance

Mother Nature An Arena Spectacular

Mother Nature An Arena Spectacular Rating

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The lights drop, plunging the stage and audience into darkness. The only sounds to be heard are excited, wriggling young audience members and the tap of the shoes onstage as the band makes their way to their instruments. A booming voice echoes throughout the arena …

The Australian Calisthenics Theatre Company (ACTC) bring to life a vivid story through dance, song, and light. Over the course of six scenes, the audience is introduced to the elements that make up Mother Nature: earth, fire, water, wind, light, and sun. Each element has a lesson to teach Mother Nature so she may grow into who she is meant to be. Each scene focuses on one element, and the choreography beautifully represents the emotion and inner turmoil Mother Nature experiences with her time spent with the element, as well as the element herself.

I say ‘the element herself’, because each of the elements are powerful women and girls, showcasing their hard-earned strength, athleticism, control, and finesse. For fans of calisthenics, you might be questioning if Mother Nature feels like a competition. It does not – you still get your typical march, free exercise, graceful, rods, and clubs, but this is a story, so each category melts together to bring a beautifully aesthetic performance carefully crafted to make you gasp, cry, sigh, and smile.

 

 

The lighting swirls on both stages, the colours reflecting the element speaking with Mother Nature, from a cooling green-blue to an almost alarming orange-red, and every colour in between. The lights roll and dance as though they are part of the ensemble, while the screen at the back of the stage rotates through images which reflect, and match, both the lighting and the dancers. Undulating lights breathe life into both of the stages, not only giving it life, but weaving into the story.

Unlike an average dance performance, Mother Nature not only boasts a double stage connected by two runways, but also a live band and singers. JD Smith (one of the Ten Tenors) was a visiting performer, pairing his vocals with female singer Chloe Castledine and ‘The Cast’ orchestra. The musical score is an original soundtrack for Mother Nature; inspired by the elements, each song carries the audience through the chapter, evoking emotion and a depth of emotion the likes of which was Broadway-worthy. Some of the songs were, in fact, Broadway songs, so remember to keep an ear out and you might find yourself admiring the Stars, while Defying Gravity and gazing Into the Unknown. Excerpts and covers of popular songs from Sam Smith, Lada Gaga, and Celine Dion also sneak their way into the performance, among many others, winding and melting together seamlessly.

The performance is so enrapturing that after two scenes, you couldn’t blame yourself for not realising the performers had already changed costumes multiple times. While Mother Nature has her signature look, each element has a leotard leaning closer to a work of art, and the ensemble joins with dazzling complementary pieces. The leotards boast thousands (if not hundreds of thousands) of jewels, gems, and beads, shimmering with every breath under the light.

The story of Mother Nature is one of strength, of perseverance, and hope. Inspiring not just to women, but all genders. Mother Nature celebrates storytelling, music, and life through dances designed to take your breath away and leave you full of wonder.

To book tickets to Mother Nature An Arena Spectacular, please visit https://www.auscalisthenicstheatre.company/whats-on/mother-nature.

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Sugar Might Be Addictive…

Sugar

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Wow! What a yummy treat this cabaret was. I ate it up and didn’t want it to end! Tomàš Kantor sucked us into the story from the get-go with clever use of current pop bangers that we all know, and love. From Chappell Roan to Gaga, the Sugababes and TikTok hits, the music always encapsulated the story in an interesting and unique way. The rollercoaster of emotions throughout was relatable and we were rooting for the very lovable Tomàš as Sugar. Honestly, in this economy, who hasn’t contemplated taking the “easy way out” and becoming a sex worker after watching Pretty Woman. Especially easy to relate to if you’ve ever been a struggling uni student living in a share house.

Tomàš performance of this (as far as I can tell), true story, was powerful, fun and playful. I loved the use of the poppiest of songs arranged in a cabaret format. I died when Prada played. They gave us clever costume, prop and set use, great vocals, dance breaks and played multiple instruments. What a multi-talented and intelligent performer! The characters were all interesting, well-defined and had a point of view. The story was clear. I feel as if this is a show you could see many times and notice new clever intricacies each time. Tomàš and Bullet Heart Club (Ro Bright – show writer & Kitan Petkovski – director) deserve high praise for this!

 

 

Don’t be distracted by the sparkles though. Not only was it funny, but there were poignant moments as well. These included some insight into why sex work is often not “easy money.” This is a job which requires incredible sacrifice of self and often places the worker into perilous personal situations where they have no power or recourse for wrongs committed. This window into sugar-babying throws light on some inherent class divides and the power imbalance of these transactional relationships. There was subtle commentary on internalised queerphobia too, and I had goosebumps when they started singing the last song.

The show included considerable (optional) audience participation and use of house lights which made for a very immersive theatre experience. This hooked us in for the ride and made us laugh. Word of warning, if you are uncomfortable with descriptions or portrayals of sex on stage this is maybe not the show for you. However, those who are down, you are in for a thrilling collective release. I was unsure how the audience would react at the Hayes, but they loved it! Tomàš is so charismatic and charming that we feel as if we are a friend getting the tea.

Ultimately, such a fun journey, I laughed and sympathised with Sugar. I would heartily recommend going to see Sugar if you get the chance. This debut cabaret has already won multiple awards, and rightly so, Tomàš is a talent to watch. Look out Edinburgh…

To book tickets to Sugar, please visit http://hayestheatre.com.au/event/sugar/.

Photographer: James Reiser

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