The Wolves began with one of the girls warming up for soccer. As the soccer player #13 (Kristie Kriaris-Tsotras) warmed up, so too did the audience. The Wolves is about a group of girls on an indoor soccer team together, and explores what it’s like to be part of a team, and to be a teenage girl surviving amongst her peers. Written by Sarah Delappe, The Wolves delicately balances the exploration of how young women interact, and what it means to part of something bigger than oneself.
The set was clean and minimalist, with artificial turf across the whole stage, designed by Tom Vulcan. The bright lighting (also designed by Tom Vulcan) neatly established the stage as an indoor soccer field. The stage was well established, unmistakably, as a place for the soccer team to mingle, play, and be The Wolves.
The choreographed introduction on the show was well synced and impressive. The entire ensemble warmed up together, and powerfully set the expectation of how the soccer team worked together and moved as one across the stage. Throughout the show there were moments where the entire ensemble warmed up, and the physicality of the movements adds richly to the identity of the girls in the show. They are there as a group, moving together.
The complex group dynamics were established early into the play. There was consistently overlapping dialogue, that was conducted with an impressive amount of skill. The overlapping dialogue felt authentic to the experience of teenage girls. It meant that the audience always missed a little bit of context or conversation, adding to the feeling of being a teenage girl, never quite knowing what was going on, always slightly disoriented. This also effective built the tension between the characters, as they gossiped and bullied each other.
The different members of the soccer team discuss their lives, politics and hint at the complexity of socioeconomic differences between the team members. These topics of discussion lead naturally to awkwardness, both genuine and manufactured. The tension built and developed as the interpersonal conflict and affection escalated amongst the teammates. The ensemble cast expertly weave the complex relationships of the different team members, exhibiting impressive and excellent chemistry.
Ultimately The Wolves asked the audience to ponder if we should care about what others say about us, or what it means to be a team. When I leave a show asking myself questions, I know I’ve been thoughtfully and meaningfully engaged.
Easy drive and easy find, we join a HUGE crowd to see ‘Romeo & Juliet’….. whoops, no, that would be ‘& Juliet’ – phew, we are in the right place! (must’ve sped-read the brief haha)
“Welcome” – handed a cute pink ‘teen style’ Booklet Program. FANTASTIC with FREE lip balm!! Great impression already – reminded me of Dolly Magazine (if you’re old enough to know what that is). Yes, a Collector Poster inside too; ideal for autographs.
Now I’m going to start this review repeating the best recommendation I heard on opening night from the lucky friend I took along. She had just seen the professional production of ‘& Juliet’ on Broadway two weeks ago. Her words straight out when we exited the theatre were “well comparing to what I saw in New York that was right up there, didn’t lack anything”. So, in other words, comparatively to what we compare is the best place in the world to see shows, the team at Windmill Theatre Company have created a show that well deserves praise and recognition.
Grab a ticket for your entire family now to have the very best time with a Shakespeare classic gone POP!
Playing until June 21, 2026 Ticket link: https://www.bunjilplace.com.au/events/juliet-windmill-theatre-company
There have been so many adaptations of William Shakespeare’s ROMEO & JULIET, into plays, into ballets, into movies, you name it, but no-one would have ever thought that songs we’ve all danced away to at every wedding since they hit the charts for Britney Spears, Katy Perry, Justin Timberlake, Bon Jovi and Backstreet Boys, amongst others, would be used to re-write the ending (and journey of self-discovery) of probably the most famous romance of all time.
Adding to the electric pop music is a set that doesn’t stop with the action. Each piece of the story has props, towers, beds, balconies, small, big, whatever is needed and often combined with giant geometrical shapes in ever-changing patterns of light. Movement and use of strobes, spots, softness and subtleties make it probably the best high visual lighting I’ve seen create this sort of impact in an amateur production ever. It’s good!!!!
Tudor style is entranced into the crazy colourful costuming where sequins glitter, puffed sleeves expand, armour is polished, roller shoes are on and popularized hairstyles of space buns and bubble braids fly around the stage in demanding jazz and hiphop choreography (with a partner flip or two) that makes total sense of chaos! This musical is contagious FUN. You’ll wish you’d worn your medieval velour dress hiding in the back of your costume cupboard (at least that’s what I thought I should’ve pulled out LOL).
To bring this new story to life in boastful expression you need a new type of ‘Juliet’. Rachel Dwyer has grabbed this lead role with all she has and doesn’t let go. She’s every bit the fierce determined strong young woman and sings with those same qualities like a popstar. This is a very different ‘Juliet’ and she’s amazing!!
Alongside Juliet is her friend ‘April’ being controlled by ‘Anne’ narrating (Shakespeare’s wife with her preferred version of the story her husband is writing for Juliet). A virtuoso voice, Samantha Hammersley definitely suits her name as she hammers out both these roles with the utmost skill and precise timing 100% plus some.
‘William Shakespeare’ himself is played by David Torr and pulled off with ease bickering with his wife about changing his star-crossed lovers’ story, and particularly Romeo’s death (or not, with ‘take that’ attitude)
Inclusivity is paramount in any show and here it was in ‘I Kissed a Girl’ flawlessly performed by Addie Casamento playing ‘May’ and Sean Rentero playing ‘Francois’.
That one goddess showstopper vocal queen; hmmm… a few here, but my jaw dropped with the power of Katelyn Anitema playing ‘Angelique’
Goofy funster at the heart of the show; well done in acting it up to Tom Liszukiewicz playing ‘Romeo’.
The Boy Band comeback – as this is my era I can’t not mention the laughter from everyone where I was sitting on “am I sexual?” – Adam Kirk obviously enjoying his role as Lance Do Bois – brave line, BRAVO!
Sam Lyons and Finley Oldmeadow playing ‘Lord and Lady Capulet’ were very in with their characters and Finley’s bit role (giving opinion to ‘Shakespeare’) showed they can switch up any lines.
Ensemble stars – Afua Adjei, Benjamin Lee, Caitlin Furlong, David Vien, Gabbi Watson, Imogen Galbraith, Liam Canavan, Mack Williams, Michael Zinner, Nabs Adnan, Olivia Exposito, Olivia Fletcher, Shanae Thomas-Williams, Tineque Law, Sujanthan Satkunarajah, Alice Cooper, Breanne Ashwood, Colin Hartly, Kyan Esler, Merryn Purdy, Sean McBride, Sienna Levy, Sophie Cashin and Tom Fitzgerald.
Congratulations to this dynamic team. I am really looking forward to seeing more from Windmill Theatre Company.
Director: Sienna Iscaro Music Director: Rachel Gorman Choreographer: Guada Banez Assistant Director: Mathew Arter Assistant Choreographer: Joel Richardson Producer: Peter Verhagen Production Designer: Danny Ginsberg Sound Designer: Tom Conroy Lighting Designer: David Brown Costume Designer: Amy Planner Set Design: Ed Giling, Sean van Geyzel Props Manager: Alison Robbie Stage Manager: Karen Bates Intimacy Coordinator: Josh Richardson Program Designer: Luke Martin
More info: https://www.windmilltheatre.com.au/
Theatre Venue: Bunjil Place 2 Patrick NE Dr, Narre Warren is a magnificent theatre in outer Melbourne south east, lots of parking, next to a major shopping centre Fountain Gate. Exceptional canteen/cafe and tons of restaurants nearby.
Last Actor Standing is a recurring comedy improv game show where four actors compete to become the Greatest Actor Of All Time. Created by Lost Theatre Company, the show offers a completely different selection of guests and games every week, guaranteed to delight, entertain and sometimes shock audience members. Think “Who’s Line Is It Anyway” paired with “Taskmaster”, grounded deeply on the Melbourne independent theatre scene.
This Friday I had the pleasure of venturing into Club Voltaire to watch Joshua Bruce, Lilian Hudson, Jacob Kuek and emergency cover Ana Swadling battle through three rounds of on the spot comedy acting, chasing the crown awarded to the Greatest Actor Of All Time. From improvised plays and villainous plots to company catchphrases and long forgotten technology, these actors took a solid swing at everything that was thrown at them. All actors put on a good show (and congratulations to the recently crowned Lilian Hudson) but unfortunately I cannot recommend you go and see them (though highlights are likely to get posted on instagram), because every Last Actor Standing show boasts a completely new cast of Melbourne Theatre makers. This week, the cast featured actors from Lost Theatre Co.’s upcoming performance of Too Much Light Makes The Baby Go Blind (a clever bit of promotion, if ever I saw it) but other weeks, the show has welcomed improvisers, actors and musicians from a wide range of beloved Melbourne theatre productions.
I have been lucky enough to see a few Last Actor Standing shows and credit must be given to reoccurring hosts and co creators of the show Noah Sargent and Jay Watts who, along with writers Pip Wiseman and Alex Watts, repeatedly come up with new ways to test (and torture their actors) in a format that remains consistent with shows brand without becoming repetitive and allowing for a recurring audience. Noah and Jay have stated that their intention with Last Actor Standing was not only to create a show that would entertain audiences, but also a show that would provide connections for Melbourne artists and promotional opportunities for independent theatre. In doing so, they have created a vibrant network of young creatives who are defining the next generation of independent performing arts in Melbourne. If you want the opportunity to experience a future pillar of the Melbourne independent theatre scene at its base level, their Last Actor Standing Championship round (featuring all the winners from this season), is fast approaching. I highly recommend it as an entertaining way to spend a Friday night.
Producers have just released the final week of performances for Melbourne’s feel-good musical of the season – WAITRESS. Broadway’s smash-hit musical WAITRESS must close at Her Majesty’s Theatre on 19 July. Audiences and critics alike have been effusive in their praise of the show, with heart-felt standing ovations. Tickets are now on sale for the final performances at waitressthemusical.com.au
“A recipe for perfection” – The Music “One of the finest Australian casts ever assembled.” – Stage Whispers “A delicious score… Plenty of energetic comedy.” – The Age “A genuine crowd-pleaser… There’s no denying Bassingthwaighte’s star power.” – Time Out
Leading the cast as Jenna is Natalie Bassingthwaighte, while Gabriyel Thomas and Mackenzie Dunn play Becky and Dawn, Jenna’s coworkers at the diner. Charismatic star of stage and screen Rob Mills is Dr Pomatter, and legendary actor John Waters plays Joe, the owner of the diner. Keanu Gonzalez is Earl, Gareth Isaac plays the role of Ogie, John Xintavelonis plays Cal, and Annie Aitken is the Jenna Alternate.
The ensemble and swing cast comprises Cameron Boxall, Alexandra Cashmere, Ethan Jones, Dwayne P. Mitchell, Joseph Naim, Conor Neylon, Belle Parkinson, Emily Robinson, Elandrah Tavares, Bree Tipoki and Stephanie Wall. Lulu is played by Stevie Denton, Lola Inman, Ruby Marshall and Evie Papas.
“Melbourne has fallen in love with this moving and original musical. Get your tickets now before it leaves town,” said producer John Frost for Crossroads Live. “With its inspiring music by Sara Bareilles and universal themes of hope and resilience, WAITRESS has fast become a massive hit worldwide, and the sensational Australian cast has been praised by critics and audiences.”
Inspired by Adrienne Shelly’s beloved film, and brought to life by a trailblazing female-led creative team, including a book by acclaimed screenwriter Jessie Nelson, an original, uplifting score by Grammy winner Sara Bareilles (Love Song, Brave) and direction by Tony winner Diane Paulus, WAITRESS is the irresistible Broadway hit about resilience, friendship and hope that has captured hearts worldwide.
This heartwarming and empowering musical tells the story of Jenna, a small-town waitress and expert pie maker who longs to escape her rocky marriage and start again. When a baking contest, an unexpected new romance and the support of her fellow waitresses offer her a taste of change, Jenna discovers that the secret ingredient to happiness might be closer than she ever imagined.
“Treat yourself to a slice of 5 Star musical pie” – The Times “Sweet, sassy, passionate & delightful!” – New York Magazine “Simply delightful! A glorious reminder that life is messy and wondrous!” – The Washington Post
WAITRESS made history on Broadway with the four top creative spots in a show being filled by women – Sara Bareilles (music and lyrics), Jessie Nelson (book), Lorin Latarro (choreography) and Diane Paulus (direction). It opened on Broadway in April 2016 at the Brooks Atkinson Theatre, where it ran until January 2020. WAITRESS was originally produced by Barry & Fran Weissler and Norton and Elayne Herrick.
Sweet, sassy and soul-stirring, WAITRESS is “a little slice of heaven” (Entertainment Weekly) and “made from the finest ingredients” (Time Out). It’s a feel-good celebration of second chances, and the magic of a well-made pie. Everyone deserves a slice of happiness!
WAITRESSTHEMUSICAL.COM.AU
MELBOURNE SEASON DETAILS Venue: Her Majesty’s Theatre Season: To 19 July Performance Times: Tue-Thurs at 7pm, Fri-Sat 7:30pm, Wed 1pm, Sat 2pm, Sun 1pm, 3pm or 6pm (performance times vary each week) Prices: From $69.90 (Transaction fees apply) Bookings: waitressthemusical.com.au or phone 13 28 49 Groups 8+ call (03) 9662 9571
SYDNEY SEASON DETAILS Venue: Sydney Lyric Theatre Season: From 1 August Performance Times: Tue-Thurs at 7pm, Fri-Sat 7:30pm, Wed 1pm, Sat 2pm, Sun 1pm, 3pm or 6pm (performance times vary each week) Prices: From $69.90 (Transaction fees apply) Bookings: waitressthemusical.com.au or 136 100 Groups 8+ email groups@ticketmaster.com.au
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