This Saturday, I was able to attend the opening night of Monty Python’s Spamalot at the Atheneum Theatre in Melbourne.
The production advertises itself as “a new musical lovingly ripped off from the motion picture Monty Python and the Holy Grail” and the atmosphere inside the theatre stayed true to this sentiment, with audience members being welcomed in to lively music and clips from the original Monty Python films. Once everyone was seated, the audience was treated to a lively animated opening credits sequence, introducing the cast and setting the tone for the rest of the evening.
For myself, and for many other Australian acting fanatics, one of the major draws of this production of Spamalot, is the opportunity to see Stephen Curry in the lead role of King Arthur. Curry is one of Australia’s most beloved character actors, who many will recognise from his role as Dale Kerrigan in The Castle, and he steps into the role of King Arthur with the grace and expertise expected of him. He truly embraced the chaos and tongue in cheek humour that flows through Spamalot, giving it his own touch of comedic disdain and aloofness.
While Curry may be the biggest name on the call sheet, he is, by no means, the only star of the show. Flowers must also be given to (the aptly named) Jaz Flowers who played the featured role of the Lady Of The Lake. This self proclaimed diva showcased some powerhouse vocals and well executed comedic timing as well as a consistent stage presence that, alongside Curry, provided a grounding contrast amongst a cast of many changing characters.
Credit must also be given to the ensemble dancers, Grace Williams, Danielle Gibson, Jacinda Tsakalos, Emily Huynh, Will Basson and Ethan Churchill, captained by Dominique Hamilton and choreographed by Suzi and Jamie Rolton. From tap to cancan, from showgirls to cheerleaders, these dancers embraced a variety of characters and styles to fill out the performance.
Monty Python’s Spamalot is a very specific brand of humour. It may have been opening night emotions, however the energy and enthusiasm showcased by the entire cast (and, in occasional moments, the crew) infected the whole audience. There were many laughs, cheers and occasional gasps throughout the entire show. The use of animated backdrops (sourced from Aquixel Studios) provided opportunities for fast paced jokes that would otherwise be impossible onstage and the show’s self awareness of its own limitations (smaller set pieces, no horses) turned those elements from shoddy to funny.
Sweeney Todd: The Demon Barber of Fleet Street Rating
★★★★★
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Musical theatre is as strong as ever in Melbourne, and Sweeney Todd: The Demon Barber of Fleet Street is a testament to that.
This spectacular Sondheim musical is an absolute must-see, but is only on for a limited season, playing at Chapel off Chapel, through Soundworks Productions.
Based on the fictional character, Sweeney Todd, this dark thriller follows a blood-thirsty barber in 19th century London.
After his return from serving several years in Australia for a crime he was wrongfully committed for, Benjamin Barker, a talented barber, discovers his wife is deceased, and his daughter is kept as a ward from the Judge who had wrongfully accused Benjamin of his crimes (and raped his wife).
This leads Benjamin Barker to change his name to Sweeney Todd, and side-up with his downstairs pie-making neighbour, Mrs. Lovett, with a plan mutually beneficial plan to get back his daughter, Joanna with the help of a young sailor, Anthony Hope, and to turn Mrs. Lovett’s pie business around for the better.
What results is a story of revenge… and a lot of murders!
The talented cast crafted their character to perfection, leading to compelling and captivating performances across the board.
The lead actors were mesmerizing with their performances, bringing the audience right into the world of the characters in this dark and haunting story.
The musical is bursting with memorable songs, catchy melodies, lyrics that are both disturbing and often hilarious, and masses of energy.
The live orchestra did a fantastic job of bringing Sondheim’s music to life along with the outstanding vocal performances across the entire cast.
The set was beautifully designed and lit, providing a feast for the senses, and really enhancing the emotional rollercoaster the audience are taken on throughout this musical.
The special effects (yes, there is a fair amount of blood at times) were effective and convincing.
The pie oven scene at the end was well done; a simple set-up, but it was made to seem so real on-stage, enhanced by the knock-out cast performances.
There was a beautiful section where two ballet dancers performed as birds, which gave such a lovely reprieve from the darkness, that is, until you realised the dark undertones of that scene!
The attention to detail was evident across the board in this musical; from the acting and vocal performances to the costumes, set, and direction – this really is a thoroughly entertaining and enjoyable show.
This Tony award-winning musical is definitely a highlight for the 2026 musical theatre calendar in Melbourne, so make sure to not miss out on this high-quality production.
Sweeney Todd is running at Chapel off Chapel until September 20. At the time of this review being published, the entire season has sold out, but take any chance to get your hands on a ticket if you can!
Director Noel Browne and his creative team, including the extraordinary costuming by Felicity Hall have once again conquered a remarkable opening night of HELLO DOLLY!
How I LOVE a show by NOVA MUSICAL THEATRE, the team never fail to put on a community show at a professional level! You could easily drop this cast in their costumes into a big city theatre without any questions whatsoever.
I vividly remember seeing the movie (when I used to rate movies as a kid on a list on my door – a reviewer in the making). My Mum loved Barbara Streisand and she said I’d love it and I did – it would’ve been given 10/10 by me back then. This stage production by NOVA no different, a 10/10 for storytelling, singing, acting, costuming, choreography, set design, sound tech., lighting, casting and creativity! Then I would add in the completely AMAZING orchestra and music of course for 12/12.
I take along my neighbour tonight who also can’t believe the standard continually coming on one after the other.
The first thing I adore is the costuming, it is absolutely out of this world and the way the ensemble hold their ‘mannequin’ like poses in still-life moments is praiseworthy giving us a chance to look around the stage at all the colours and styles; long dresses with petticoats and parasols, frills and lace with delicately held reticule bags.
The men look equally splendid in their waistcoats and top hats. I recently learned on a history tour that the taller the top hat, the wealthier the gentleman. I particularly liked the orange, bright green and cobalt blue, but honestly everyone looked incredible in every scene. Those who danced around in white trimmed with colour too looked lovely with the lighting; you’ve got the picture!
Playing ‘Dolly Gallagher Levi’ (matchmaker meddler/organiser) is Susan Warner and what a show she puts on almost like she is performing for both audience and cast. A voice you could hear in any Broadway production and perfect persona for character. Susan is one of those seasoned performers you enjoy from the second she speaks her first word. She does the role with ease, her singing, her dancing (and dance-teaching), her acting and more; it is a privilege to appreciate such commanding attention. Absolutely LOVED watching her. Oh and her final courture – WOW!!
‘Horace Vandergelder’ is in character by John Leahy. I’ve seen John in a number of shows now, including him cast alongside my own daughter in Nova’s ‘Music Man’. My daughter now works overseas, but I know her experiences in community theatre only helped her become employed as a performer. John is every bit suited to playing the ubrupt half-a-millionaire beside Dolly. I love his loudness, stubbornness and watching him interact with all on his path to run his business and find a new wife. Will he eventually marry Dolly? Will he be tempted or shocked by the promise of an oochy-koochi with the fabulously played ‘Ernestina Money’ by Pamela Briathwaite in her pink feather boa that looks rather good on Horace too 😉
16 guys choreographed on stage for ‘It takes a Woman’ has everything down to Ra-Ra-Ra, and it’s just a taste, as this lot are back in lots of whacky waiter chaos at the Harmonia Gardens Restaurant headed up by ‘Rudolph Reisenweber’ played strict and proper by David Sly.
Shout out to Daniel Sultana (ensemble) when the audience went wild after he bravely pulled off a HIGH flip-fall amongst plates and pheasants much to the delight of all. These full-on fun crazy good scenes are constant throughout, so you can eagerly anticipate another one. ‘Put on Your Sunday Clothes’ was my favourite.
Finally, I cannot even begin to give enough credit to:
Rafaela Cleeve Gerkens as ‘Irene Molloy’, in a word (from the lady sitting behind me) “WOW”, but in fact I have no words, just go hear her sing!
Hayley Wooten as ‘Minnie’, lovable from outset, this girl can ACT! She’s adorable!!
Patrick Cottin as ‘Cornelius’ just fantastic, he’s exactly like you expect and want him to be, a little awkward on purpose but heartfelt with telling us of his new-found love for Irene.
Nathaniel Calleja as ‘Barnaby’, so cute in this role, no wonder he already has a long list of credits in the program.
‘Ambrose’ and ‘Ermengarde’ played by Stephen Burton and Hannah Brodribb are great together, they nail the ‘polka’ competition dance and Hannah’s weeping cry is next level.
CONGRATULATIONS to all and let’s hope that HELLO DOLLY! never does go away….
DIRECTOR Noel Browne MUSICAL DIRECTOR Peter Grant OAM CHOREOGRAPHER Wayne Robinson LIGHTING Michael Zagarn AUDIO Mitchell Raymond COSTUMES Felicity Hill STAGE MANAGER Glenys Browne
CAST
DOLLY Susan Warner HORACE John Leahy CORNELIUS Patrick Cottin BARNABY Nathaniel Calleja IRENE Rafaela Cleeve Gerkens MINNIE Hayley Wootten AMBROSE Stephen Burton ERMENGARDE Hannah Brodribb ENESTINA Pamela Braithwaite RUDOLPH David Sly NIGHT COURT JUDGE Tristan Everett MRS ROSE Nicole Cooper
ENSEMBLE: Tamsin Ashdown, Lauren Bolzonello, Stephan Brennan, Madeleine Brown, Michael Capon, Carrie Chiu, Eimear Cormack, Raelene Dundon, Ruby Hall, Stephanie Herbert, Philip Liberatore, Estelle Lipovertsky, Aaron McBride, Jett McIntosh, David Nicholls, Warren Overton, Robyn Parker, Hannah Powell, Kaleena Shillam, Daniel Sultana, Brian Sweetman, Tristan Wainwright, Max Reina-Henriksen. and all the creative and production crew.
Tickets: https://www.theround.com.au/HelloDolly More info: https://www.novamusictheatre.com.au/
In 1988, out came rave reviews from the critics for the movie of DIRTY ROTTEN SCOUNDRELS.
I, nor my husband, have seen it on stage until tonight. So, after a lovely dinner next door at the Gracious Grace Cafe (highly recommend), we take our seats for the musical version playing currently at a reminiscent olde-world theatre in Lilydale.
The story is predominantly still about a comedic trio, what we’d not-so-politely call ‘scammers’ today, but this is a classic rendition much more exciting than a quick swipe stealing of your credit card or bank account warning. This is true art; a well-thought out and well-played in-person scam with a twist.
A suave British con artist ‘Lawrence Jameson’ brought sophisticatedly to life by Phil Lambert wearing the best high-class suits, devours the purses of wealthy women whilst living in a fancy mansion having had successful rich-tourist season assistance for years from the local Chief of Police.
In contrast, the unapologetic American ‘Freddie Benson’, a newcomer to the sun-drenched Beaumont-sur-Mer resort town, works his own style on gullible ladies who can less afford his attention. I can’t tell you how many times Rob Blowers steals the show here playing lovable larrikin Freddie with ease on comic timing and a definite natural acting ability to liven his character to the max.
Exceptionally well played by both actors; I observed ‘Lawrence’ on purpose watching ‘Freddie’ in some scenes and wondered how on earth Phil didn’t break his serious demeanor for even a split second at Rob’s hilariously acted antics. Experience shows, Phil is in his eighth show at his favourite Melbourne theatre and Rob is making his debut here but on the circuit for a decade – so both bound to asked back again. Sometimes I wish stage shows could also play ‘behind the scenes and bloopers’ like films do (maybe in the foyer afterwards). I’d love to see how much the cast laugh and if the Director can always keep a straight face. We certainly couldn’t between these two!
Anyway, two prospecting men after unsuspecting females enjoying the French Riviera at the same time soon becomes overly competitive for each to survive financially. A ‘winner takes all’ challenge is set, and the unhinged duo’s team target is aimed at the arriving Soap Queen ‘Christine Colgate’. Her father’s factory must produce the most popular washing powders and fabric softeners, she must be worth a bet of say….$50,000?
Whoever can convince Christine to part with her fortune will win! The losing swindler will walk away from their thefty tricks upon this ultra-luxurious territory.
‘Christine’ played with kind innocence by Madeleine Magetti (instantly recognized her voice from seeing her play the lead in Sweet Charity), is fantastic in this role allowing her to be two personalities in one with a switch up not everyone will see coming.
As with all shows holding space in a time gone by, I look forward to seeing all the clothing sourced for costuming. I particularly loved Christine’s pristine mint green dress, admired the trailing red satin gown and many pieces from this golden era in the opening numbers.
Gabi Bergman, one multi-talented performer for sure is shown off in her ‘western swing’ attire as ‘Jolene’ enthusiastically driving the song ‘Oklahoma?’ with plenty of smiles as the ensemble dance up chaos around her. This energy also gets a few gasps from onlookers to see the flexible talent of Phil as he spins Lawrence into a heel tap and toe before a high kick! What a scene!!
Woo-Hoo Phil, you’re an inspiration to my hubby who used to be a dancer, proof that everyone should just keep dancing for joy, or as my hubby said perhaps pulling a hamstring 😉
We laughed and laughed and there were so many scenes in which we did – the romantic night/morning between Andre and Muriel was a stand out with such clever lyrics, and Freddie’s ‘Great Big Stuff’ got a great big cheer from the audience. Many memorable lines from the movie are turned into these song and dance spectacles with the ensemble taking a large part to encompass the whole set – fabulously simple but effective in changing constant props. Whether it be a feather duster dancing around or a candlestick holder amusingly used, it all makes the show very creative with some ad-lib moments too (I’m pretty sure reference to Trump is not in the original script).
Surprisingly a romantic subplot between Lawrence’s crooked authority ally, ‘André’, played tongue-in-cheek perfectly by Tim Murphy, and character ‘Muriel’ portrayed with pzazz by Lauren Seymour, adds an extended side story all of its own.
When ‘Jolene’ entertainingly calls out Lawrence for far more than he bargains, hidden away ‘brother’ “Ruprecht” (alter-ego Freddie) comes to the rescue with Rob smashing out this quirky character equally.
Despite having some differences, and of course lots of songs added, the original story remains and is just as enjoyable in fun as the 1988 film.
This production of DIRTY ROTTEN SCOUNDRELS is OK for all ages I think in today’s world (note there is one swear word yelled in fun and some even funnier suggestive innuendoes) but it will probably be especially popular with an older generation and anyone who loved the movie will be impressed.
Congratulations to: Director: Alan Burrows Musical Director: Mark Cluning Choreographer: Nicole Kapiniaris-Anson Asst. Director: Francesca Carl Music Supervisor: Colin Prowasky Set Designer: Barry Pearce Lighting Designer: Deryk Hartwick Costume Designer: Maria Smedes Props: Gina Ingham & Steve Turner Production Manager: Nicholas Ryan Stage Manager: Steve Tanner Asst. Stage Manager: Bella Da Silva
CAST Lawrence – Phil Lambert Freddie – Rob Blowers Andre – Tim Murphy Christine – Madeleine Magetti Jolene – Gabi Bergman Muriel – Lauren Seymour
ENSEMBLE Gaynor Borlase Abby James Jess Lowman Gary Barcham Horatio Yen
DIRTY ROTTEN SCOUNDRELS is playing NOW at the Lilydale Athenaeum Theatre from 10 – 26 September Venue address: 39-41 Castella St, Lilydale, Victoria (free street parking). The theatre itself is adorned inside with historical stories to read about including the Dame Nellie Melba room – so interesting. They provide free tea/coffee and snack at interval, plus a complimentary pre-show and after-show drink.
Ticket link: www.lilydaleatc.com
Box Office tel.: (03) 9735 1777 if vouchers suit better as an excellent gift idea for the person who has everything! Next show up is ONE MAN TWO GUVNORS playing 19 Nov – 5 Dec 2026
