Horse Girls follows a group of tweens who make up the passionate and prestigious Lady Jean Ladies, a dedicated group to all things horses. Lead by the aggressive alpha dog (or horse) Ashleigh (played by Tamzen Hayes) this club, bursting with different personalities, holds their regular weekly meeting that quickly descends in chaotic madness.
Horse girls is a dramatic and fast paced dark comedy, with sharp writing (by Jenny Rachel Weiner) and brilliantly choreographed and directed physical humour (direction by Eugenie Muggleton). This show is camp and silly, a perfect morsel of female adolescences wrapped in a violent twist. The audience is introduced to the club by Camille (Candice Leask), the promiscuous caricature of the group, through the eyes of her newcomer cousin Trish (Mish Keating). Camille quickly explains each girls’ role in the club to Trish, acting as a character guide for the audience.
The Lady Jean Ladies are stupid as only teen girls can be, leading to hilarity and at times surprising depth and gravitas. It was an interesting experience watching young ladies be so naïve and silly, but in that naivety, they were able to express genuine and universal feelings of grief and loneliness. Weiner was able to capture a glimpse of what we all experience through the outrageously loud camp concepts of this show.
The chemistry and social hierarchy within this ensemble is perfectly balanced. The balance of the relationships allows for on point comedic timing and delivery, cementing the cringe core status of this show. This peaks during the horse song, which, oh wow, contained choreography that teenage me would be so jealous and proud of. The performance in its entirety was acutely accurate and hilarious.
In an attempt to calm the group, the girls try to reach Anne Romney for advice. After the show I conducted my own search on google, it was confirmed that this is the wife of Massachusetts Governor Mitt Romney, and a big equestrian enthusiast. The girls were unsuccessful in contacting Anne, and as a result their connections with each other proceeded to quickly break down into violent discourse. The teetering balance of power ruptured, causing chasms in the group.
Horse Girls embodied the savage way teen girls love and hate. The Lady Jean Ladies Club reflected the passion of my adolescence, with a smattering more drama and violence. This show got audiences continuously laughing for the first 80% of the show, and mouths agape for the final 20%. The passion of the cast was genuine and infectious, I feel like I now need to be careful how I approach any horse enthusiasts.
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.
What would happen if you were mistaken (by a hot guy, no less) for your recently deceased twin sister in the local Woollies, but fail to correct the mistake?
How do you navigate having to take guardianship of your young, orphaned nephew when you had other life plans?
Can we ever, even as adults, fully break free from the (often stifling) parent-child relationships we grew up with as children?
And perhaps most importantly: Should you EVER let a young child win at Uno if you have the power to beat them?
These are just some of the questions raised in Draw Two; a compellingly powerful and comedic one-woman show centred around Riley, a young 20-something year old woman dealing with some very big life challenges.
Riley has returned to her hometown in the aftermath of the death of her twin sister, Mia, to pack up her sister’s house, and take her now orphaned son, Lucas, back to Melbourne to live with her and her partner.
In this process, Riley has to deal with her stifling and often disapproving mother.
And there is the fateful encounter with a childhood friend of Mia’s (Kieren), who mistakes Riley for Mia…
Georgia McGinness takes the helm in this one-woman show, performing a poignant, often hilarious, and equally gut-wrenching narrative through the eyes of Riley.
Georgia masterfully depicts all of the characters coming in and out of Riley’s life, giving enchanting and moving performances.
This show really pulls at the heartstrings, exploring some big themes of navigating grief, family dynamics, personal relationships, and finding the small joys in times of darkness.
Georgia’s performances were honest and mesmerising; seamlessly transitioning between characters, and giving a real sense of relatable, Australian life, family dynamics, and the reality of the difficulties that life can unexpectedly throw at you.
While the set itself is quite simple, throughout the show, beautifully crafted animations were projected at various stages to give more life and depth to the narrative.
A full house and a standing ovation are two hallmarks of a crowd-pleasing show; and Draw Two was extremely well-deserved to receive both of these on the opening night of its run at Theatreworks in Melbourne this September.
Written by Meg McDonald and directed by Lauren Bennett, Draw Two is a perfect example of the sheer talent Australia is currently producing in the theatre space, and the entire team should be congratulated on a spectacular show.
This is not one to miss, with performances until the 27th of September at The Explosives Factory, Theatreworks, Melbourne.
Playwright & Co-Producer: Meg McDonald Director: Lauren Bennett Composer, Sound, & Voice Coach: Clare Hennessy Set & Costume Designer: Ishan Vivekanantham Visual Art Designer: Lauren Goodfellow Lighting Designer & Production/Stage Manager: Sam Gray Co-Producer: Ruby Busuttil Cast: Georgia McGinness
An extremely long time ago I first performed on stage as a tiny 4 year old in my birthplace of Warrnambool, so when a show came up to review in my home town, I gratefully took the opportunity and my Mum for an overnight stay. We had a wonderful weekend. Warrnambool (3.5hrs drive from Melbourne) is a fantastic place (voted Australia’s most liveable regional city) and I highlight if you include in your visit their art galleries and a theatre experience, it’s an awesome artsy destination.
MY BRILLIANT CAREER was showing at the Lighthouse Theatre by Warrnambool Theatre Company, and what a company! A cast of 28 were hugely talented and entertaining. I did have a few favourites by the end of the show, their characters so enriched the play with warmth and laughter, but I could say a million positive things about everyone in the cast, truly; all amazing, worked so well together and I hope you had the best time putting on this show, because we had the best time watching it.
Great use of an inventive set design and sound/lighting throughout the show. The ‘horse and buggy’ travel adaption, very clever! The walk-on walk-off gum trees rather than still props made change of whereabouts quick and un-interrupting to the story being told. The giant book in the background where topics scribbled across digitally invited us to continue enjoying each chapter and the true sounds of the Australian bush playing as we were transported back in time was so lovely to hear.
Mia Copland playing ‘Sybylla’ is second to none I’ve seen play this role before. It’s hard to imagine that she is anything but strong willed and confident in her everyday life too; on stage Mia is full of her character tenfold. Her lead script is unforgiving and she is on stage constantly. I applaud her every word, every mannerism, action, stride and scream. She spoke with articulation of a versed poet. Standing out was her vociferation on living in Possum Gully – being a part of a family down on their luck. Sybylla, as oldest child, will remain responsible to help her family when needed. Will she succumb?
Though Sybylla’s society grandmother takes her in for a period, and a rich man shows interest in her; they are feelings of which Sybylla may be unsure whether to reciprocate. Amid the advancement of ‘Harry’ played charmingly by Elliot Cooper, there will be a call of ‘duty’ for Sybylla to repay a debt of her father’s. I could feel Sybylla’s pain as Mia brought that to the audience in devastative prospect on returning to a monotonous torturous life Sybylla thought she had managed to leave. A life where there seemed no future to do as she wished, where no one cared of her ambitions; a life where she may survive, but not thrive. A life of no career, excepting carrying babies and hopefully not dying in childbirth.
Lucy played by Angela Verspay, was a mother dealing with all the usual things a mother does and more. The baby ‘blanket’ appearing took a serious situation into comical laughter (my second time to witness labour in action on stage haha but the first blanket pulled out – who thought of that – different!). Finally, when Lucy played piano at the end, such action said 1000 words and I felt a magic moment of communication between mother and daughter, well done!
I loved Grannie Bossier played by Kate Head, delivery of her character was precise, as was Hannh Bellamy as Aunt Helen. Noteworthy were their interactions with each other. Little extra details in theatre help make every scene believable. It might be just an eyebrow raised, shoulder shrug or a glance away, a certain non-verbal tone used; things we may not consciously always notice, but subtleties that make dialogue come to life.
The character of Uncle Jay-Jay was funny and featured in Sybylla’s stint at her grandmother’s, played by Jeremy Lee – quintessential to his better life – bravo, he was my favourite! I laughed long after he delivered his line of ‘what on earth would I do in the kitchen, I don’t even know where it is’ – I daresay that would have been true for many a wealthier early-century gentleman.
Gertie played by Amelia Dumesny was a breath of fresh air in her acting, I felt she really did play opposite Sybylla beautifully in giving to her family and showing genuine sisterly love for Sybylla. Brother Horace played by Oberon Rothman also gave a compelling speech to Sybylla, and their father Richard played by Michael Hoffman was exactly rightly cast to be both a positive and negative influence on his family.
The family of Mr McSwat played by the hilarious Lachlan Turner were all excellent! Lachlan’s exaggerated persona worked his role on par as any professional (my Mum loved his antics). Little Arto playing ‘Jimmy’ was a cutie, as were Paddy and Lilibet playing cheeky ‘Tommy’ and ‘Katie’. Vivienne and Hannah playing ‘Maggie’ and ‘Rose-Jane’ were eagerly switched on in being naughty, and Ruby Nelson playing Lizer was exceptional – I noticed her in the clan even before her role took on a feature in the script. Mrs McSwat played by Anja Harley had a fantastic accent of country Aussie bush life and Alex Smith playing Peter (also taking a shine to Sybylla) was fun in his quiet shy way. We loved this rough and tumble family.
Worth mentioning too is that this play is derived from a semi-autobiographical book written more than a 100 years ago by Stella “Miles” Franklin. I wonder what Miles would think of today’s world where women can be anything they desire in majority of countries, but not all, as somewhere in the world today there are women who still live in cultures and environments struggling to be heard and educated for a better existence, the world for them today is not dissimilar to that of Sybylla’s.
MY BRILLIANT CAREER is a triumph of writing and taking that written work of yesteryear to the stage today is quite an achievement. Congratulations to Producers Penny McLeod and Matt Baker, Director Lisa Graham, Assistant Director Flo Roney, Stage Manager Warren Easley, Set Designers Claire Norman & Lyle Russell, Lighting Design Tegan Evans and all the creative team – an example of exemplary regional community theatre working at its best!
I thoroughly encourage others make the drive from surrounding areas for the Warrnambool Theatre Company’s next show ‘& JULIET’ playing 3-10 January 2026. If you live locally – go see everything this company produces – what a treat to have your theatre easy to get to, easy to park at, restaurants close walk and great bar service at interval. Not things we always get queuing up in Melbourne. Accommodation for anyone living further away too is affordable with plenty of choices.
Ticket and information link: https://www.warrnambooltheatrecompany.com/
