Theatre Works in St Kilda is currently home to an ambitious production, The Breath of Kings. It is a two-part history cycle of the plays Henry VI and Richard III. Directed by Robert Johnson, the production brings Shakespeare’s history plays to life with extraordinary immediacy, energy, and invention.
Over an entire day of theatre, audiences are invited to witness the bloody history of England’s royal houses, from the Wars of the Roses to the rise of Richard III. The experience is immersive from the start. Staged in the round, the audience sits within arm’s reach of the performers, blurring the line between spectator and participant. The interaction is constant and sometimes joyful. At one point, I was dancing on stage and sharing treats passed around by the cast. It was alive, communal, and very much in the spirit of Elizabethan performance.
The first play, Henry VI, is a thrilling, blood-soaked account of ambition and collapse. The charismatic Duke of York, played by Tobias Manderson Galvin, ignites the crowd into chants of “York, York, York!” His performance is full of swagger and charm. Ellen Marning as Queen Margaret is a force of nature, embodying raw power and ferocity, while Sean Yuen Halley brings a touching vulnerability to King Henry VI, revealing the man beneath the crown. The production moves with such intensity and rhythm that its two and a half hours fly by.
After a short dinner break, the audience returns for Richard III, an equally kinetic and captivating experience. Alexander Tomisich’s Richard is impish, calculating, and darkly magnetic, a scheming antihero who could easily walk into an episode of Succession. His sideways charm and growing menace are compelling to watch. The ensemble around him works in seamless harmony, each actor shifting roles and tones with remarkable ease.
The production feels like a cross between Succession and a session of Parliament. It was sharp, fast-moving, and dripping with modern corporate ambition. Characters jostle for dominance and betray each other with a familiar blend of charisma, cruelty and political posturing. It is Shakespeare’s power politics reimagined through the lens of contemporary boardrooms and wealthy family dynasties.
The visual world of The Breath of Kings is simple. There is no elaborate set, only a raw, concrete-like space that places all focus on the performances. The costumes, designed by Zachary Dixon (Richard III) and Tait Adams, are a clever mix of Gothic and 1980s-inspired corporate fashion, blending the medieval with the modern to explore timeless forms of power and corruption. The effect is both stylish and symbolic, a mix of crown meet boardrooms.
This is a production that rewards commitment. Spending a day at Theatre Works for both plays is an epic journey through history, politics, and human ambition. It is fast-moving, immersive, and full of action. You may never again have the chance to see Henry VI and Richard III performed back-to-back in such an inventive way, and it is absolutely worth the time.
If you can, see both. The Breath of Kings is a triumph of energy, imagination, and ensemble storytelling.
The Weathering is an extraordinary fusion of movement, sound, projection, and puppetry, a bold new work from Fusion Theatre’s inclusive ensemble that resonates long after the final moment fades into darkness. Directed by Darcy McGaw and Jo Raphael, this poetic and deeply human production transforms the urgent realities of climate change into a visceral, sensory experience.
From the first moments, the performers command the stage through their physicality. Their bodies become landscapes, trembling trees, surging waves, shifting winds — embodying both the fragility and ferocity of a planet under pressure. The use of light and darkness creates a haunting rhythm, as projections wash across the stage like passing weather fronts. At times, the performers seem to dissolve into these shifting visuals, blurring the line between human and environment.
The original soundscape adds another layer of emotional texture. Whispers of rain, the low rumble of thunder, and fragments of breath and song create a world that feels at once intimate and immense. The puppetry, too, is quietly powerful — delicate yet evocative, revealing the interconnection between people and nature in ways words alone could never capture.
What makes The Weathering so compelling is the way it seems to capture opposing forces in its grip. It holds space for both helplessness and hope, for the chaos of the storm and the calm that follows. The pacing shifts fluidly between frenzy and stillness, echoing the unpredictable rhythms of the natural world. There are moments of silence that feel deafening, and bursts of movement that feel like the earth itself is speaking.
At its core, this is a show with immense heart. It gives voice to those who are too often excluded from conversations about the climate crisis — voices that are essential, urgent, and profoundly moving. The ensemble’s commitment shines through every gesture, every sound, every flicker of light.
McGaw and Raphael have crafted a work that feels both timely and timeless. The Weathering doesn’t just ask us to think about the world we’re losing — it invites us to feel it, to grieve it, and ultimately, to imagine how we might begin again.
Ethnically Ambiguous is a silly and heartfelt comedy that explores three actors disappointing experiences as culturally diverse individuals in a shallow industry. Max Nunes-Cesar, Jo Malta and Zac Rose created and performed Ethnically Ambiguous as an exploration and presentation of their upsetting experiences as actors. This show contained a skit like format, moving between storytelling, faux game shows, musical numbers, and heartfelt monologues. This show also broke the fourth wall in frequently funny ways.
Ethnically Ambiguous contained a plethora of clever self-referential jokes and audience participation. The most powerful audience participation is the game of ‘guess the ethnicity’ with a wheel of origin as a practical gag. This worked well in combination with the actors and creators, it had an immediate and powerful impact on the audience. This skit was a clear and powerful moment of the actors creating tension, and using themselves and their experiences to cut the tension and connect with the audience.
The actors felt authentic, which makes sense given their roles as creators of the show, sharing their own experiences of the world. In particular, Zac Rose stood out as a powerful story teller, conveying his experiences and personal narrative in a touching and meaningful way. Rose was able to explore his ongoing feelings of shame and guilt, accepting that his ancestors were discriminated against because of the colour of their skin, and acknowledging that he carries the trauma of those experience, with the understanding that no one can see it, and he doesn’t experience it himself (due to his white passing presentation). Rose is told by his friends that “you choose what defines you,” as he decides to reclaim his sense of self, and falls into a space of acceptance.
The show’s theme of disconnection of perception and sense of self was well established and maintained. However, the show at times lacked direction and focus, with skits between the characters stagnating the pacing of the show. There were moments of the show that felt non-sensical. A sharp and clear perspective was missing at times, which meant the impetus of the show fell flat. As a result, the long-lasting impact of the show might not be as clear as the creators intended.
Acting is a visual and audible job, how you look and sound impacts how you are perceived, and although Nunes-Cesar, Malta and Rose don’t state it, to me it felt that it important to recognise and accept that there are things you cannot change, like the colour of your skin. This show reminded me that one’s sense of self, confidence, and acceptance of self should be tied to who you are, rather than the success you find in your career.
Ultimately, I came out of this show with the knowledge that pursuing a career in acting is risky, idealistic and irrational, and I’m glad Nunes-Cesar, Malta, and Rose are doing it.
I can sum up this review in 5 blaring words – DO NOT MISS THIS SHOW!
I was so excited to see that CLOC were producing Victoria’s non-professional premiere of ‘&Juliet’ in 2025 and it’s playing now 10-25 October at The National Theatre in St Kilda, Melbourne.
No-one does it like CLOC, their shows are, on every aspect, simply A-M-A-Z-I-N-G!!! CLOC Musical Theatre is one of Victoria’s largest and most successful non-professional music theatre companies. See this show and you will know exactly why.
I haven’t seen &Juliet before and had no idea what to expect other than I knew it was based around the story of Romeo & Juliet in reverse, i.e. what if Juliet had lived?
I did know it was a ‘jukebox’ musical and they are usually not my faves over the traditional type, but this flawless production was definitely an exception and I confirm it’s the BEST thing I’ve seen this year (of course my daughter has been in shows and I have to say they were the best to her …Sssshhhh).
Firstly, the sets! The sets! How does CLOC do these mind-blowing sets? From moving towers and staircases to rotating platforms, fountains and drop down whimsical wedding drapes, every single set scene is nothing short of professional at the highest level. Plus the lighting is nothing like one would normally expect in an amateur production; it’s on cue, on time and each strobe hits every beat adding to the electrifying performances – especially in the dance numbers choreographed by Felicity Bender – SUPERB!
My favourite songs are hard to note as there were so many I found myself singing along to, but Demi’s ‘Confident’ and Britney’s ‘Oops! I Did It Again’ were punching strong and I was almost jumping out of my seat to hear the Backstreet Boys’ ‘Everybody’ in the hilarious boy band scene. This is no guess of amalgamations – every song is a carefully selected match for uniting the narrative.
Playing the lead, ‘Juliet’, is the beautiful Guada Banez, whom I also saw play the lead of Fran in Strictly Ballroom last year so I knew she’d easily steal the show in parts. Her voice is magic, her acting is second to none and she is one very versatile dancer! A teacher by day, had she pursued theatre as a profession I am sure we’d be seeing her grace the big city majors. However, this show is as good as any major production I’ve seen in the past decade and Guada rocks the role of Juliet.
Playing ‘Romeo’ is the entertaining Tim Maguire, having performed from a young age in New Zealand and then graduating from NASDA, he doesn’t muck around either and brings full energy and commitment to every word, note and movement. When he surprises us all half way through the show belting out from the side stairs behind us, my daughter beside me (who lives for theatre) is gobsmacked for the plot twist. We cheer and know this is special; this is one we won’t be forgetting.
Making us laugh and look forward to the next time they take over the stage was Shaun Kingma as ‘Lance’ and Sarahlouise Younger as ‘Angelique’, both were out-of-this-world with their talent playing off each other and drawing the audience in to their funny, cheeky and provocative tell tales, both past and present. CLOC could not have possibly cast anyone better for these roles.
Will Woods as ‘Francois’ was excellent and Mak Russell Gill playing his secret love interest ‘May’ gave this pair some showstopping, heartfelt and breakwave moments addressing some critical issues you would never have seen in actual Romeo & Juliet times, but today such is the norm in relationships equality as it should be and these two sent that message loud and clear. Will and Mak can both be very proud of their ability to courageously give those characters their true voices.
‘William Shakespeare’ is played by Sam Anderson and how does one play ‘Shakespeare!’??? (what an honour) Sam nailed it – I loved his very convincing accent, rattling off his famous quotes and his to-and-fro comedy and love spats with Sharon Willis playing his wife ‘Anne’ with just as much fun and feeling. Both extraordinary vocalists, and both in their first CLOC show, they deserved the enthusiastic standing ovation singing together Can’t Stop the Feeling; ‘Dance Dance Dance’ as part of the finale – the audience were up bopping!
Cannot finish this review without mentioning the incredible costuming! It is with great imagination that one can take a tale from so long ago including their puffed sleeves, frilled collars, armour and petticoats and mix it up with hip hop vibes, detailed hair and make-up, bright sequins and modern fabrics to bring &Juliet to where it is today on a stage in 2025. Each cap, jacket, pants and top were carefully sparkled-up just right to make the stage light up without being over empowering to the characters wearing the crazy put together of wardrobe items. ps. Give me Juliet’s pink sparkly high heeled boots any day.
Ensemble were all top class throughout and we loved the in-character walk arounds as people were sitting in their seats prior to the start of the show – especially the ‘let’s do this’ huddle on stage before commencing (my daughter leaned in and advised me that’s usually done in most shows backstage, so that was lovely to see them share that moment on stage with us).
No wonder this show is selling well, we didn’t want to go at the end, we wanted to stay and see it again and I will be … already booked my tickets with a friend for final night… Woo Hoo!! I very rarely go and see shows twice.
Thank you so much to Director Kari McNamara, Choreographer Felicity Bender and Musical Director Dan Heskett for giving myself and my daughter one of the best nights out we’ve ever enjoyed together at any theatre. And if going by what the audience were saying after the show, I’m sure everyone there on opening night was in complete agreeance – this is a no brainer, GO SEE NOW!
CAST and CREATIVES too….thank you:
JULIET – Guada Banez WILLIAM SHAKESPEARE – Sam Anderson ANNE – Sharon Wills LANCE – Shaun Kingma ANGELIQUE – Saralouise Younger MAY – Mark Russell Gill ROMEO – Tim Maguire FRANCOIS – Will Woods
Featured Ensemble – Melanie Ott (Lady Capulet), Sujanthan Satkunarajah (Lord Capulet) Ensemble – Cecilia Cao, Emily Kay, Charley Conway, Tiaana Quest, Sam Dyer, Kayt Trickey, Teresa Giansiracusa, David Vien, Colin Hartley, Ashley Wilsnach, Will Huang.
Orchestra – Dan Heskett, Amber Simm, Dave Banen, Shane Cole-Hayhow, Angus McKean, Angel Duan, Daisy Wong, Eugenie Lyons, Deb McLeod. Deps – Bryn Bowen, Adrian Close, Joyce Chahine, Peter Pham Nguyen.
Assistant Director: Bec Ginsberg Stage Manager: Gemma Hedger Technical Director: Grant Alley Oam Set Designer: Mike Fletcher Sound Designer: Marcello Lo Ricco Lighting Designer: Andrei Chlebnikowski Hair & Make-up: David Clausen-Wisken Costume Designer / Co-ordinators: Victoria Horne, Melinda Peebles Props Co-ordinator: Pam Christie Birkett
&Juliet music by Max Martin & Friends, Book by David West Read Licensed exclusively by Music Theatre International (Australasia)
For more information to be involved in future CLOC Musical Theatre productions see: https://www.cloc.org.au/ Up next will be their May 2026 show: ‘THE HUNCHBACK OF NOTRE DAME’ – auditions open soon.
Venue: The National Theatre in St Kilda is easy to get to by tram stopping straight outside the door but there is also plenty of parking around including paid parking at the Acland Court shopping centre just a short walk away which I use frequently.
