Eureka Day

Eureka Day

Eureka Day Rating

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In Eureka Day, Jonathan Spector’s razor-sharp satire of liberal consensus and public health anxiety, a seemingly progressive Californian school board descends into chaos over a mumps outbreak. But what could easily become a smug send-up of anti-vaxxers and virtue-signallers is instead something more nuanced, uncomfortable, and timely. Under Craig Baldwin’s deft direction, Outhouse Theatre Co’s production at the Seymour Centre lands every comic beat while never losing sight of the emotional truths buried beneath the surface.

Although the play is distinctly American in setting, this Australian staging loses none of its relevance. The characters feel instantly recognisable, the debates all too familiar. This is a story not just about vaccines, but about what happens when our desire for clarity and reassurance collides with ambiguity, grief, and fractured trust.

Katrina Retallick is particularly compelling as Suzanne, the new age, soy latte-sipping board member whose calm certainty masks deep personal pain. She walks the tightrope between satire and sincerity with precision, making Suzanne both maddening and deeply human. When the character’s backstory is revealed, Retallick’s performance shifts into something tragic—an aching portrayal of a parent failed by the institutions she once believed in.

Jamie Oxenbould’s Don is equally affecting. The embodiment of well-meaning, moderate liberalism, Don wants nothing more than to keep everyone happy. Oxenbould captures his charm and diplomacy perfectly, but also lets us see the cracks forming under the strain of trying to appease all sides. His unravelling in the brilliantly staged Zoom scene is as funny as it is painfully relatable.

Deborah An brings a quiet strength to May, initially playing her as a reserved and observant figure. But as the stakes rise, An reveals the steel beneath the calm, delivering a performance that builds patiently to a moment of quiet triumph. Christian Charisou’s Eli enters bold and brash, full of passionate conviction, but undergoes one of the play’s most significant emotional shifts. His transformation, grounded in his role as a father, adds weight and tenderness to a character that could easily become just a mouthpiece.

As Carina, Branden Christine is a standout. Starting off as a newcomer eager not to step on toes, she grows into a voice of clarity and compassion. Her confrontation with Suzanne doesn’t just showcase moral courage, but also the empathy that gives the scene its emotional punch. Christine subtly anchors the play’s message: that we must speak up for what we believe in, but also make space to truly hear one another.

Technically, the production is sharp and inventive. The colourful, clean set provides a visual cue for the play’s early optimism, which contrasts starkly with the bleakness of the later hospital scene. The use of live projection, sound, and lighting in the Zoom sequence is a highlight—expertly timed, uproariously funny, and all too recognisable to anyone who survived the remote meeting era.

Eureka Day is a biting, intelligent, and unexpectedly moving production. Outhouse Theatre Co has created a version that speaks directly to Australian audiences, reminding us that the messiness of democracy—and of parenting—has no borders. It’s as hilarious as it is human, and well worth seeing.

To book tickets to Eureka Day, please visit https://www.seymourcentre.com/event/eureka-day/.

Photographer: Richard Farland

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Chicago: Tall & Short Theatre Co

Chicago

Chicago Rating

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This production of Chicago by Tall and Short Theatre Co delivers the show’s signature sharp cynicism with an especially bold edge, amplified by a small, versatile cast playing multiple roles as well as minimal costumes and set. These choices not only showcases the actors’ range but also deepens the show’s inherent themes of duplicity and moral ambiguity, underscoring the story’s cynical view of fame, justice, and human nature.

Michael Astill’s portrayal of Billy Flynn is a highlight, delightfully sleazy and utterly captivating. His numbers sparkle, particularly the brilliantly coordinated and high-energy “We Both Reached for the Gun” with Katie Wallis as Roxie. Astill’s commanding presence during the trial scene truly owns the stage, driving the drama with a magnetic intensity that resonated strongly with the audience.

Katie Vials shines with her singing, especially in “Roxie” and “Funny Honey,” bringing depth and nuance to her roles. Amelia Smith’s quiet tragedy as Hunyak adds a poignant contrast, while Willow Twine’s bold and wild energy as Velma injects thrilling dynamism into the dance sequences.

Elizabeth Ellis gives a memorable performance as Matron Mama Morton, skillfully capturing the character’s dual nature. On one hand, Morton is as calculating and transactional as Billy Flynn. But Ellis also brings genuine warmth to her interactions with Velma and, most touchingly, with Hunyak—moments that suggest real affection and loyalty beneath the surface. It’s the duet Class with Velma that truly reveals the character’s vulnerability.

Nathaniel Lawson brings a gentle sincerity to the role of Amos Hart, providing a much-needed emotional anchor amidst the show’s swirling satire. Apparently playing against type, Lawson’s portrayal is refreshingly understated, allowing Amos’s quiet dignity and hurt to shine through. His rendition of Mister Cellophane is performed with real heart — not played for laughs, but as a sincere, aching moment of loneliness and invisibility.

The choreography is exceptional — not only skillful and vibrant but notably inclusive, featuring Liam Liff performing in a wheelchair, marking a powerful and inspiring first for this production. The ensemble’s tight coordination and spirited movement bring the show’s biting satire to life.

Overall, Tall and Short Theatre Co’s Chicago is a compelling, razor-sharp musical experience that balances cynicism and spectacle, buoyed by standout performances and inventive staging.

To book tickets to Chicago, please visit https://www.tstheatreco.com/productions/.

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Grease: Hornsby Musical Society

Grease

Grease Rating

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The Hornsby Musical Society’s production of Grease lights up the Pioneer Theatre with infectious energy, impressive talent, and a wonderfully intimate atmosphere. While the Pioneer Theatre may not be a large venue, this actually works to the show’s advantage — the smaller space draws the audience closer into Rydell High’s world, making every laugh, wink, and dance move feel that much more immediate and engaging.

The cast bursts with enthusiasm from start to finish, and the choreography is a real highlight, especially in the big ensemble numbers. The high school dance scene is a standout, brimming with dynamic movement and fun character moments, while “Greased Lightning” roars to life with punchy, slick choreography that had the audience cheering.

Of particular note is Caitlin Parr as Sandy, who not only embodies the character’s sweetness and inner strength but also delivers some truly impressive vocal performances — her rendition of “Hopelessly Devoted to You” was a clear emotional high point, capturing both the vulnerability and power of the song.

Sarah Paull (Jan) and Zach Godsmark (Roger) deserve special mention for their utterly charming and funny duet in “Mooning.” Their playful chemistry brought warmth and laughter, and they fully leaned into the quirky, lovable sides of their characters. Meanwhile, Maddie Seddon turns up the heat as Rizzo, delivering a fiery, emotionally layered performance that grabs your attention every time she’s on stage. Her command of the role adds a sharp edge to the show’s emotional landscape.

Overall, the Hornsby Musical Society’s Grease is a lively, well-executed production that draws the audience in and leaves them smiling. It’s a fantastic local theatre experience packed with talent, heart, and toe-tapping fun.

Grease will be playing at the Pioneer Theatre in Castle Hill from Friday, May 9, 2025, to Sunday, May 18, 2025.

With just one weekend remaining, book your tickets for Grease by visiting https://hornsbymusicalsociety.com.au/grease-2025/.

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Shark Island Presents: The Pool

The Pool

The Pool Rating

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After making waves at the Sydney Film Festival, Ian Darling’s The Pool will be released this November. The film presents Bondi Icebergs as we know them and as we have never seen them. Darling offers a portrait of an icon of Sydney’s most famous beach and the community that surrounds it, one that is both intimate and far-reaching.

We are treated to long, smooth shots of sparkling water in sunshine, the bright turquoise of the pool and surrounding churning waves, and the slow grace of the swimmers moving through the water.

The Pool lulls you into a dream-like world with its beauty of composition, the long drone shots, the fury and destructive power of the storms, and the soft lights on the shore as the first swimmers arrive on a bracing winter morning. Yet here and again, the film changes tack, and we also see the swimmers’ activity and brightness, the flurry of movement down the pool, and the organised chaos of the Sunday races.

 

Yet it is through the people, the community of the Bondi Icebergs Swimming Club, that we reach the heart of the film. The club has been going for almost a hundred years, bringing people together from many and varied backgrounds over their shared love of swimming. As the film says, we are all equal when we have our swimmers on.

The Pool has a beautiful and otherworldly quality. From the very first frame, we dive into a hushed world of light, water, and colour. We see dark silhouettes stretching before a Bondi sunrise, drops of water gilded by sunlight that slowly explode against a brilliant blue sky. Yet these images would have remained almost disconnected without seeing the love and dedication of the people through the stories shared.

For screenings, please check venue and session times here:- https://www.madman.com.au/the-pool/#session-times-panel

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