The Secret Garden

The Secret Garden

The Secret Garden Rating

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A totally delightful evening was what my friend and I had going to see THE SECRET GARDEN at the cute Beaumaris Theatre. As soon as you step inside this special community venue you know you’re in for a good night. This was where I did my very first review too!

A popular novel by Frances Hodgson Burnett, published as a book in 1911, the set in front of us includes a hidden garden, which will change from barren to beautiful, and be accompanied by very clever use of a spotlight as a tiny robin bird. Add the authentic period costuming for seven characters and an even more authentic early wheelchair for one of them, the use of everything is impressive overall from the solemn lighting dimmed in the introduction to a bright and happy end.

The friend I had with me tonight is very much a supporter of theatre and sees many professional and amateur productions, but she had not been to Beaumaris Theatre before; she was equally impressed and her quote for the evening was:
“Mary was an absolute standout, captivating stage presence”

I agree, young Winne Wilson-Phillips (who has just turned 11) playing ‘Mary’, was faultless in this lead role, with a massive amount of dialogue and in a mastered Yorkshire accent. Winnie’s character was all things; sullen, sad, mad, rude, friendly, mean, caring and entertaining! A great deal of emotions for a young actress who got involved in drama by chance only three years ago when her sister won a term class at BDC Drama that Winnie took over and has been hooked on ever since – easy to see why.

Playing ‘Colin’ is talented young actor Ben Solomon. A year 7 student, Ben also had many different emotions to display and he managed to convey both serious and comic lines within very short changing emotional intervals seamlessly. We all had a good laugh when he chastised Mrs Medlock, argued with Mary, ordered elderly gardener Ben around, and learned to move again with Dickon’s exercise help.

‘Dickon’ played by year 8 student Max Turner had an obvious strong confidence throughout. Complete with an animal (not real) on his arm or shoulder, his role was full of positivity for helping others. As I read in the program that Max has already worked professionally with Jessica Mauboy in the Australian film ‘Windcatcher’, and also enjoys screenwriting and making his own movies, I am sure there will be no limits for his bright future in the Arts.

 

Both Shelley Dunlop as ‘Martha’ (housemaid) and Caroline Kinnear as ‘Mrs Medlock’ (housekeeper) right from the very start were fun to watch. Splendid surprise, worry and shock were all part of their course in these characters looking after the children. I was pleased to see that Mrs Medlock was good-at-heart in the end, as Martha had told Mary in the beginning. Caroline did such a good job of keeping her stern until then and I had forgotten many details since I saw The Secret Garden as a child at the movies and read in the book when I was in school way back when…. let’s not go there, but I knew I loved the story.

I did remember in the end that there was a reunion for father and son. Simon Coles as ‘Mr Craven’ is so well suited to this role and I especially enjoyed the scene watching him return to discover the garden and Colin in good health. Every parent in the audience felt his words.

Dan Bellis as ‘Ben Weatherstaff’ was very funny, whether he was leaning over the garden wall or discussing matters of ‘rheumatics’ with the children, he got continuous laughter bursts from the audience even in unexpected moments purely from his crusty mannerism or awkward posture adjustment.

This show is all about the joy of a garden; the magic that life can bring – all happening in a magic little place in Beaumaris.

Go see and love it!

Congratulations to Director Kristina Doucouliagos, Assistant Director Alarna Summers, Stage Manager Sarah Gow, Set Designer Fred Pezzimenti, Scenic Artist Sally Fleming, Lighting Designer Joshua Gardner, Lighting Operator Sam Johnson, Spotlight Operator Hal Foxworthy, Composer Harrison Ewart-Dart and costumes by Jenni Osburn.

Thank you to Debbie Keyt, president of Beaumaris Theatre Committee, for your invitation.

More information: https://www.beaumaristheatre.com.au/

Tickets: https://www.trybooking.com/au/event/1564158 playing until 22nd August

Instagram: @beaumaristheatre

The theatre is easy to find at 82 Wells Rd Beaumaris. Parking in the street. Canteen serves free tea and coffee with biscuits at interval and you can buy the usual popular choc-tops and other yummy stuff.

Side note recommendation: we had dinner prior at nearby ‘Creative Thai & Bar’

To book tickets to The Secret Garden, please visit https://www.beaumaristheatre.com.au/the-secret-garden.

Photographer: Pietro Giordano

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World Premiere For New La Bohème, A Powerful Australian Story In Town For The First Time And A Charming New Family Favourite In Opera Australia’s Wide-ranging Melbourne Spring Season

Feature-Opera Australia’s Melbourne Spring season

The Wagner Gala: A triumphant return of world-class opera to renewed Ian Potter State Theatre

Opera Australia will make a spectacular return to the newly refurbished Ian Potter State Theatre with a selection of Wagner’s most extraordinary pieces, including operatic arias and orchestral masterpieces, performed by some of the leading Wagnerian specialists of our time. The world-class cast will be led by acclaimed German Maestro Michael Güttler and will star British dramatic soprano Catherine Foster, known for her portrayal of Brünnhilde at the Bayreuth Festival, Russian tenor Sergei Skorokhodov, known for his powerful performances as Lohengrin and Tannhäuser and one of the Australia’s most versatile and in-demand baritones, James Clayton, who returns to sing with Opera Australia for the first time in over a decade.

16 October | Ian Potter State Theatre, Arts Centre Melbourne, Tickets from $89

La Bohème: A brand new, shimmering production to premiere in Melbourne

A lavish, brand-new production of La Bohème, by visionary young director Constantine Costi, will have its world premiere in Melbourne this November. Set in a snow-kissed Paris, this must-see production will breathe vivid new life into the opera that has inspired countless bohemian love stories. Australian rising star conductor Finnegan Downie will lead a luminous cast of international and Australian talent, including a homecoming season for Melbourne-born Alexandra Flood who will sing Musetta, while Galina Cheplakova and Valeria Sepe will break hearts sharing the role of Mimì and tenors Kang Wang and Paride Cataldo both take on the soaring melodies of Rodolfo.

7 – 18 November | Regent Theatre Melbourne, Tickets from $79

Opera Up Late: Opera’s naughtiest late-night party is back with more music, more glitz and more outrageous fun

The campest night at the opera is back: opera’s greatest late night party, Opera Up Late, hosted by the outrageous Reuben Kaye, returns to Melbourne’s Regent Theatre. A riotous celebration of all things opera, plus a few musical theatre classics and pop numbers for good measure, it’s both the perfect opportunity for newbies to pop their operatic cherries and aficionados to enjoy some of the most iconic arias as they’ve never seen, or heard, before. Award-winning director Shaun Rennie brings together a cast of fabulous singers for a night of big laughs and even bigger voices. Australia’s most highly awarded soprano, Emma Matthews, will be joined by Ruth Strutt, Daniel Macy and Anthony Mackey, all making a welcome return to the glittered Opera Up Late stage.

15 November | Regent Theatre Melbourne | Tickets from $79

The Trumpet of the Swan: For the first time in Australia, Jason Robert Brown’s charming introduction to musical storytelling

Symphony and storytelling bring E.B. White’s classic children’s novel The Trumpet of the Swan to life, with lively narration performed by a group of actors alongside a cinematic, lyrical score played live by Orchestra Victoria. Adapted for the stage by Pulitzer Prize winning playwright Marsha Norman and Tony Award-winning composer Jason Robert Brown, this work, staged especially for families and children, is a charming testament to the power of music and a perfect introduction for young music lovers to live orchestral performance. A hit at its Kennedy Centre premiere, Opera Australia presents this delightful work on the Australian mainstage for the very first time.

20 – 22 November | Regent Theatre Melbourne, Tickets from $59

Watershed: The Death of Dr Duncan: A searing Australian opera tells of real-life tragedy and triumph

Ravishing operatic work Watershed: The Death of Dr Duncan will premiere in Melbourne at Arts Centre Melbourne’s Playhouse Theatre. Directed by Australian theatre and opera legend, Neil Armfield, this production is as deeply felt as it is thrillingly physical. Half a century since the infamous drowning of Dr George Ian Ogilvie Duncan, which ultimately led to the decriminalisation of homosexuality in South Australia, Watershed turns the illicit into the sacred, through powerful choral music, solo voices and dance. Through a searing, no-punches-pulled libretto by Helpmann Award-winning playwright Alana Valentine and author Christos Tsiolkas (The Slap) and a luscious, ultimately transcendent score by Brisbane composer Joe Twist, this 5-star, “if I could give it 6 stars, I would” (Limelight), critically acclaimed production captures a significant turning point in Australian history.

21 – 28 November | Playhouse, Arts Centre Melbourne, Tickets from $59

Booking Information
Group and concession prices available for most performances.
Opera Australia Box Office | (03) 9685 3700 | opera.org.au
Explore the season online https://opera.org.au/whats-on/melbourne

 

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‘Aladdin’ by The Victorian State Ballet

Aladdin

Aladdin Rating

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What a privilege to be invited to review the ballet of ALADDIN by Victorian State Ballet company performing at The Palais in St. Kilda, a grande dame of theatres.

Everyone likes to dress up for the ballet! It’s so beautiful to even enter the foyer and watch lots of excitement meeting friends, buying programs before eagerly being shown to seats. A couple of young girls in front of me had their best ‘ballet’ buns in and ballet ‘pink’ clothes on, one with a picture of Princess Jasmin on the front. Their mum obviously equally looking forward to the show, smiling at her children’s joy. I remember those days!

Classical ballet is a very special form of dance. Whether or not these young girls are inspired to become advanced ballet students or simply continue to enjoy the art of ballet in an audience, they’ll never forget coming along to a full length ballet for the first time. (I asked their Mum and her reply was when she had heard it was ‘Aladdin’ she had to take them even though it was a late night because they love the Disney story so much!). After the show they were both skipping, twirling and arabesqueing up the aisle. I wonder if they went to sleep dreaming of either becoming a princess or a ballerina?

Alanna Puddy as Princess Jasmin shines as a principal. Not only is her exceptional technical training at The Queensland Ballet PPY and Australian Conservatoire of Ballet evident, she has the ability to tell this well-known storyline clearly and convincingly. There is often a lot colorfully going on around her and she is completely focused in bringing Jasmin to life within each scene exactly like those girls in the audience expect. They giggled at the cute moment of Jasmin playing cards with Aladdin.

 

 

I never look at who is in the show prior to reviewing, so I am thrilled to see a past school buddy of my daughter’s playing the title role ‘Aladdin’, Michael Scott-Kahans. Michael studied here in Melbourne at VCASS in the full-time dance stream, then went on to train at Tanz Akademie Zurich and European School of Ballet. At 18 he was accepted into a contract with Alberta Ballet in Canada. As Aladdin, from stealing apples to a memorable solo, Michael is superb and his extensive training is highly noticeable. Impressive clean grand jetés and an acrobatic aerial from this guy too!

Tristan Gross as Jafar is excellent. Jafar is an interesting character isn’t he…. scary and calculating. Though in a ballet of course Tristan, as the expert artist he is (formerly of The West Australian Ballet and Royal New Zealand Ballet), has to relay these mindful exasperations of Jafar very differently from those who get to play the role in a musical or movie; only non-verbal expressions – he does very well indeed.

Dancing since he was 5 after commencing at Melbourne Dance Theatre, Daniel Sierra as The Genie is absolutely living the dream and what a lovable role to fill. I have watched Daniel before as a much younger dancer (VSB shows regularly tour to the suburbs and regional areas in Australia). He continues to build a strong presence on stage I recognize and no doubt has an equally strong future ahead of him. It was fun to watch him as Genie.

Belle Thorneycroft (Sapphire) has exceptional poise and elegance.

New Zealander, Courtney Taylor (Ruby) shows passion and an eye for detail right to her fingertips.

Maggie de Koning (Diamond) simply oozes love for this genre she performs outstandingly.

Grace Kefford (Emerald) is graceful and gorgeous.

Felix Milewski (Magic Carpet) loves to perform since his journey began as a child dancer with the Australian Ballet. Though you cannot ‘see’ him as the Magic Carpet, the ‘dancing’ carpet is a feature especially entertaining!

Charlotte Jones (Aladdin’s mother), a very lovely dancer, having been accepted into the prestigious English National Ballet School in London, stood out to me as one upcoming young lady to watch.

There are members in the corps of Victorian State Ballet who are amazing; extensions that defy the definition of flexible and their interactions with each other are suitably staged with spot on timing to create the whole picturesque scenes in very pretty costumes. I particularly liked the castle scene. A+

I overheard many positive comments after the applause finally subsided and I’ll note one in particular:

“was interesting how they changed the lighting to show off the costumes”

I agree, the lighting was used in co-ordination with the costume colours and settings super well!

Every dancer tonight created an impactful connection with their audience to tell the narrative about a poor boy who falls in love with a girl, finds a genie in a bottle, fights off a villain and eventually gets to marry her as a princess (“wedding scene had ‘cool’ drum music” my own daughter reported on way home).

It was magical to see Aladdin as a ballet. Thank-you all!

The Victorian State Ballet is a professional ballet company all ages can go along to enjoy and appreciate the art of ballet at an affordable ticket price, but still with quality and care of remarkable artistic talent.

Congratulations Martin Sierra (Artistic Director) and Michelle Cassar de Sierra (Choreographer & Co-director) and your entire team behind-the-scenes and on/side-stage.

To find out more see www.victorianstateballet.org.au

Instagram: @victorianstateballet

To book tickets to Aladdin, please visit https://www.victorianstateballet.org.au/tickets

Photographer: Sasha Kane

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Tony & Gaga: An Opulent Big Band Experience

Tony & Gaga: An Opulent Big Band Experience

Tony & Gaga: An Opulent Big Band Experience Rating

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Most know the late Tony Bennett and the much younger pop icon, Lady Gaga, who shared a musical partnership and a friendship for decades.  Both were Italian singers with a mutual respect for each other, as well as two collaborative jazz albums. 

After first meeting at the 2011 Robin Hood Foundation gala in New York City, when Bennett told Gaga, “Lady, you are a jazz singer”, later that year Gaga recorded “The Lady Is a Tramp” for Bennett’s Duets II album. 

So successful, they then released the chart-topping jazz record Cheek to Cheek in 2014 and the Cole Porter tribute album Love for Sale in 2021.

What many don’t know is the mutual impact and support they shared revitalized Gaga’s love for music when she was considering quitting the music industry.  Their partnership was that profound.

For the amazing Tony & Gaga tribute show in Melbourne last Friday, acclaimed powerhouse vocalist, Sarah C, (Dancing with the Stars, X Factor) teamed up with debonair Melbourne fashion icon, Dom Bagnato, to sing the unforgettable hits of the American Songbook. 

Arguably, some of the best songs ever produced in our history, some nearly 100 years old, these timeless tunes fit somewhere into our lives emotionally, still today.

When I last reviewed Sarah’s ‘Soul Divas’ show, I met Dom in the audience, excited about doing this new show with Sarah C. 

This had developed when Sarah and Dom had sung together at the birthday of Dom’s daughter when they realised they had some great musical mojo together. Now, the rest is history.

No coincidence, the 20-piece band backing Sarah and Dom on Friday night were named the Mojo Orchestra and, the chemistry between Sarah and Dom with this great band, was an absolute treat to behold.

 

 

Dressed in dinner suits and bow ties, the Mojo Orchestra stage setting was reminiscent of the halcyon days of the Glenn Miller Orchestra.    Mojo had the same musical precision Miller’s band was famous for – when to come in loud and when to pull back – without anyone knowing how they timed that.

The first song of the night, sung by backing singers Cathy Moloney and Julie Kemelfield, was ‘Summertime’, from the musical Porgy and Bess. They were there to warm us up so, we had no idea how opulent our experience was about to be.

I had just flown in Friday morning from a friend’s “007” wedding in Greece and a week in Thailand’s relaxed humidity, straight into Melbourne’s frosty Friday night to do this review, so ‘Summertime’ seemed serendipitous.

I was ready for the warmth of “crooner” tunes, when Musical Director, Peter Foley, introduced us to Sarah C and Dom Bagnato as Gaga and Bennett and their first duet, the classic, ‘The Lady is a Tramp’.  It is a playful song about a woman who hates strict social rules, made famous by singers like Frank Sinatra and Tony Bennett, celebrating being free and real.  What more could one want?

Sarah C, always so glamourous – was wearing a leopard print blazer, diamante brooch and a Fedora hat, the first of her many changes – showed us her vocal versatility with some matching Beebop, (first developed in the 40s by legends like Charlie Parker and Dizzy Gillespie.).

The band sounded romantic and fabulous and the audience couldn’t wait to hear what more was in store for their evening.

Next, Sarah and Dom performed ‘Heaven’ with Sarah’s tone reminiscent of Amy Winehouse, she always sings so brilliantly; followed by ‘Night and Day’, composed by Cole Porter in 1932 for the Broadway musical, Gay Divorcee; and ‘Under my Skin’, also by Cole Porter in 1936 and adopted by Sinatra as one of his signature hits.

Dom bantered happily with our audience like he knew us all personally.

“When I travel, I like to sing, especially this one’, ‘I left my heart in San Francisco’.  He sang a very apt tribute to Tony Bennett, who originally recorded and popularized the song in 1962, when it quickly became Bennett’s signature song. 

Dom then chose the Sinatra hit, ‘The way you look tonight’, originally sung by Fred Astaire and, Mojo’s trombones were exquisite. 

Then, another Sinatra hit with an arrangement by Quincy Jones from 1964, ‘Fly me to the Moon’ – later becoming tied to NASA’s Apollo space missions. 

The Mojo band excelled during this number with their eight saxophones especially synchronised, powerful and melodic.

Sarah C returned to the stage in a long pink satin dress to sing us ‘La Vie ‘en Rose’ (Life in pink), in French.  A wonderful tribute to Edith Piaf’s 1945 version, which later became a hit in the USA in the 50’s.

Next was ‘At Last’, originally recorded by the Glenn Miller Orchestra with vocals by Ray Eberle and Pat Friday in 1941. Most know Etta James’ 1960 soul version. Sarah C’s smoky depth gave us a little mix of both, Sarah taking full advantage of her exquisite 20-piece orchestra at that moment.

The audience was invited to take a break and on return, Dom treated us to a Sinatra and Dean Martin medley: ‘Come fly with me’, ‘All of me’, ‘You’re nobody ‘til somebody loves you’ and finally, ‘My Way’, which Dom sang with all his heart and soul, totally winning over the audience and causing us all to stand and cheer.

Sarah C in her a beautiful, long pink gown, tied in a huge bow – designed by Ella Atkins – paired with a stunning Halo diamante Tiara, sang one of my all-time favourite songs – once recorded by Sammy Davis Junior, John Coltrane, Michael Buble, and, most famously, the irrepressible Nina Simone – the very cool and extremely groovy, ‘I’m feeling good’.

To hear this classic sung by Sarah in an intimate band room, performed live by the magnificent Mojo orchestra, was spine-tingling.

As were the following hits, ‘Orange coloured Sky’ originally by Nat King Cole; ‘My Baby just cares for me’; ‘I get a kick out of you’; Duke Ellington and Ella Fitzgerald’s, ‘Don’t mean a thing if you ‘aint got that swing’ and finally, ‘New York. New York.’

By this time, the audience was singing along loudly and with joy.

Brunswick Ballroom is one of Melbourne’s live music gems. Not only does it host live original and cover bands of every genre on Fridays, Saturdays and Sundays – and some weekdays – on this marvellous night, it opened at 6.30pm for dinner before the show starting at 8.30pm. 

Who doesn’t love a dinner and show?

This was something different – An opulent big band experience, everyone dressed up to the nines in an intimate ballroom, hosting a 20-piece orchestra behind two powerhouse voices, two good friends, who, like the real Tony and Gaga re-igniting these classics, had a camaraderie and talent too good to miss.

A time of chivalry, respect, romance and joy.  Melbourne needs more of this.

Don’t miss your chance to see this great show.  Upcoming dates are:

  • Frankston Arts Centre – Saturday, 5th September, 2026.
  • Birds Basement – Friday, 9th October, 2026.
Booking Link – Sarah C Shows | Glamorous Live Entertainment & Performances | Sarah C sarahc.com.au Image

Mojo Orchestra:

Peter Foley – MD and Trombone

Cathy Moloney – Vocal

Julie Kemelfield – Vocal

Judee Horin – Piano

Doug Foley – Bass

Scott Hurley – Guitar

Paul Grage – Drums

Sean Wheatley – Alto Sax

Tracey Boekel – Alto Sax

Toby Amiel – Alto Sax

Juergen Moews – Tenor Sax

Michael Ruhsam – Tenor Sax

Leonie McNeill – Tenor Sax

Paul McDonald – Tenor Sax

Greg Day – Baritone Sax

Chris Ryan – Trombone

Jamie Grima – Trombone

Linh Du – Trombone

Darcy Neate – Trombone

Dave Melgaard – Trumpet

Leo Dellafiore – Trumpet

Lawrie Barnes – Trumpet

Enrico Bazzani – Trumpet

Andrew Pyrcz – Trumpet

To book tickets to Tony & Gaga: An Opulent Big Band Experience, please visit https://brunswickballroom.com.au/whats-on/.

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