Cast Announced For Pride And Prejudice* (*sort Of)

Feature-Pride and Prejudice* (*sort of)

The cast for the 2026 Australian tour of the musical comedy Pride and Prejudice* (*sort of) was announced today. The five performers who will portray the iconic roles of Elizabeth Bennet, Mr Darcy, Jane Bennet, Charles Bingley, Mr and Mrs Bennet and all other characters, will be Amy Lehpamer, Zoe Ioannou, Kaori Maeda-Judge, Ruby Shannon and Teo Vergara. Amy Lehpamer has led the cast of national tours of & Juliet as Anne Hathaway and The Sound of Music as Maria, as well as lead roles in Dusty, Beautiful: The Carole King Musical, The Who’s Tommy, School of Rock, Dirty Rotten Scoundrels, Once, Rock of Ages, The Rocky Horror Show and Shane Warne the Musical. A NIDA graduate, Zoe Ioannou most recently appeared in the Australian tour of Grease, understudying the roles of Sandy, Frenchy and Jan. Other performance credits include Hairspray, West Side Story, The Wizard of Oz and at the Hayes Theare Co, Dubbo Championship Wrestling, Bridges of Madison County and Big Fish. Kaori Maeda-Judge’s varied career has seen her in productions of David Bowie’s Lazarus, White Pearl for Sydney Theatre Company, The Dismissal for Squabbalogic, The Hello Girls and Meg March in Little Women at the Hayes Theatre Co, and Jack Thorne’s Tony Award winning A Christmas Carol, as well as TV’s Neighbours. A recent graduate of QUT, Ruby Shannon is making her professional debut in Pride and Prejudice* (*sort of). Since graduating, Ruby has collaborated on several independent theatre, film and development projects. Teo Vergara is an actor, singer, dancer and a graduate of the VCA, who made their screen debut in the ABC series Crazy Fun Park and followed this by starring in the queer and gender diverse series Turn Up The Volume for the ABC. Teo was a member of the original Australian cast of Jagged Little Pill, and starred in the original Australian musical Converted! for ATYP.

“It has been a long-held dream to undertake this tour with our take on Austen’s masterpiece,” said writer and original director Isobel McArthur. “This show is a true celebration of love and romance so, now that the match-making is done, I cannot wait to watch Pride & Prejudice* (sort of) and its Australian audiences fall head over heels for each other.”

Co-Director Simon Harvey said, “I am delighted with the stellar cast of Australian talent we have been able to assemble for this production and can’t wait to travel down under to begin rehearsals. I feel sure that the wit, physical comedy and karaoke sound track of Isobel MacArthur’s take on Jane Austen’s timeless classic (sort of), will chime with Aussie audiences.”

Direct from its triumph in the West End where it won the Olivier Award for Best Comedy, Pride and Prejudice* (*sort of) is a unique and audacious retelling of Jane Austen’s most iconic love story. Men, money and microphones are fought over in this irreverent but affectionate adaptation where the stakes couldn’t be higher when it comes to romance.

This “smart, laugh out loud funny” (Daily Telegraph) show features a string of pop classics including Young Hearts Run Free, Will You Love Me Tomorrow and You’re So Vain. Coming to Australia for the first time, these five fearless women bring Austen’s world of love, class and chaos to life with heart, humour and unstoppable energy in this modern take on one of the world’s most adapted pieces of literature.

★★★★★ “Faithful to the book, it’s also a raucously irreverent romp” – Daily Mail
★★★★★ “Riotously funny… gloriously entertaining… frankly sensational” – Variety
★★★★★ “Layer and layer of brilliance” – The Scotsman

PRIDE AND PREJUDICE* (*sort of)
By Isobel McArthur after Jane Austen
Original production directed by Isobel McArthur
Co-Director Simon Harvey
Produced by Neil Gooding Productions and Woodward Productions by arrangement with David Pugh Limited

SEASON DETAILS

MELBOURNE
Venue: Atheneum Theatre
Season: 18 June – 12 July
Performance Times: Tues-Wed 7pm, Thurs-Sat 7:30pm, Wed & Sat 2pm, Sun 3pm
Prices: From $65 (Transaction fees apply)
Bookings: ticketmaster.com.au or phone (03) 9650 1500
Groups 8+ visit ticketmaster.com.au
Groups 20+ email groups@ticketmaster.com.au

SYDNEY (Presented by Sydney Opera House)
Venue: Drama Theatre, Sydney Opera House
Season: 16 July – 30 August
Performance Times: Tues-Sun 7pm, Wed & Sat 2pm, Sun 1 or 2pm (times vary weekly)
Prices: From $69 (Transaction fees apply)
Bookings: https://www.sydneyoperahouse.com/theatre/pride-prejudice-sort-of or (02) 9250 7777
Groups 8 + call (02) 9250 7777

WOLLONGONG (Presented by Merrigong Theatre Company)
Venue: IMB Theatre, IPAC
Season: 2-13 September
Performance Times: Tue 6.30pm, Wed-Thurs 6:30 or 7:30pm, Fri-Sat 7:30pm, Thurs 11am, Sat & Sun 1:30pm (times vary weekly)
Prices: From $84 (Transaction fees apply)
Bookings: merrigong.com.au or (02) 4224 5999
Groups 8+ call (02) 4224 5999

CANBERRA
Venue: Canberra Theatre, Canberra Theatre Centre
Season: 16-27 September
Performance Times: Tues 6:30pm, Wed-Sat 7:30pm, Wed, Sat & Sun 1:30pm, Sun 6:30pm (times vary weekly)
Prices: From $65.90 (Transaction fees apply)
Bookings: canberratheatrecentre.com.au or (02) 6275 2700
Groups 4+ call (02) 6275 2727

BRISBANE
Venue: Playhouse Theatre, QPAC
Season: 30 September – 18 October
Performance Times: Tues-Thurs 7pm, Fri-Sat 7:30pm, Wed, Thurs & Sat 2pm, Sun 3pm (times vary weekly)
Prices: From $65 (Transaction fees apply)
Bookings: qpac.com.au or phone 136 246
Groups 8+ call (07) 3840 7466

 

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We Laughed, We Cried, We Grooved, We Swooned!

A Transgender Woman On The Internet, Crying

A Transgender Woman On The Internet, Crying Rating

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Wow. Yesterday was the International Day of Trans Visibility, and what better way to honour such an important occasion than by seeing Cassie Hamilton’s hyperpop musical, “A Transgender Woman on the Internet, Crying”.

I love the Old Fitz, not least because of the complete transformation of the set with every new show. This one was brilliantly done, with stylised graffiti and old skool speakers that pumped out the hyperpop hits. What is “hyperpop”? Thanks, Mouth_Feel, played by Rosie Rai, for answering that question. This is one of many questions raised, asked, and answered in this powerful and vulnerable piece of work; some you never thought to ask, some you should have thought to ask, and some most of us have no right to ask. All are handled with a delicate balance of truth through song, delivered with poignancy and emotion by this incredibly talented cast.

The story centres around Avis O’Hara, aka the DIY Doll, played by the epically talented writer and creator Cassie Hamilton. Avis has built an online platform by leaning into being “the right kind of trans”; with an emphasis on “right”, where those internalised self-hate pathways sometimes end up aligning. I first came across Cassie Hamilton in ATYP’s production of “Converted!” and was excited when this project was announced, eagerly awaiting a Sydney season. Even more so when two of my favourites, Blake Appelqvist (who I’ve been fangirling since Fangirls) and Teo Vergara (stole my heart in Jagged Little Pill), were announced, and it was a pleasure to make the acquaintance of the equally talented Rosie Rai. These four powerhouses bring their own unique authenticity and depth to their characters. Blake plays Corrin Verbeck, a left-tube vlogger who, along with besties Mouth_Feel and Sasha (Vergara), is sick of the toxic messaging by people like Avis and conspires to expose her.

It’s a classic frenemies-to-lovers story, but also a beautiful celebration and deeply moving collective healing and purging of complex trauma for one of the world’s most marginalised and persecuted groups of people. The foursome harmonise beautifully, with vocals (musical direction by Lillian Hearne) and choreography by Dan Ham and Riley Gill that allow each performer to shine.

 

 

Jean Tong’s direction is a real asset to the production, grounding and guiding the chaos with a deft hand. Tong allows high energy and spontaneity to flourish while maintaining a sharp pace and a strong emotional through line. There is a kind of guerrilla-theatre quality to the staging that feels entirely appropriate here, and the performers absolutely thrive within it. It is a confident, responsive directorial vision that gives the work room to be both playful and devastating.

The creative team deserves huge credit for the world they’ve built. Ruby Jenkins’ set is grungy, eye-catching, and feels like a playground for the characters to gleefully exist in. Rachel Lee and Nick Moloney’s lighting leans into cliché musical-theatre lighting state, and the work is better for it. Dan Ham’s choreography is crafted not only to capture each character’s movement, but to allow each performer to comfortably move within their abilities and fully relish the dance breaks. The lighting and sound design are engaging and responsive, with one of the most impactful moments coming when the production makes the brilliant choice of pure silence at a significant emotional peak.

The trans joy and journey are loud and proud, as they should be. But this work is also an important commentary on the fast-moving pace of online interaction, how quickly acceptance and encouragement can turn into control and isolation, and then just as easily flip into hatred and the dreaded “cancelling”. It highlights the impact of keyboard warriors and the knife’s edge of finding online belonging while surrendering freedom, autonomy, and authentic self-expression. It shines a dark light on the struggles many face when it comes to cyber culture, particularly in specific communities.

The audience was thoroughly engaged throughout. We laughed, we cried, we grooved, we swooned. This is a truly well-written, beautifully crafted show that is a must-see. I might just need to go along and see it again if I can manage to secure a ticket before they sell out.

To book tickets to A Transgender Woman On The Internet, Crying, please visit https://www.oldfitztheatre.com.au/a-transgender-woman-on-the-internet-crying.

Photographer: Brett Boardman

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Fun Home

Fun Home

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Fab Nobs Theatre have pulled one out-of-the-box with their production FUN HOME. A rare opportunity to witness.

I hadn’t seen Fab Nobs before. Little Bayswater theatre amongst factories indeed a surprise! Easy to get to, easy to park and close to home YAY! ‘Fab’ canteen bonus including bar and cheaply priced snack ‘platters’ YUM! Individual tables set up in front of stage, tiered seating in back, good views from both – stage raised.

Set was a huge detailed one-room wall-to-wall cartoon drawing. Made sense after learning this is a true story about a lesbian cartoonist and her father. Her father, Bruce, is also gay, but has not had the forthcoming option of social acceptance. Hence he married a woman, had three kids with her (including ‘Alison’) and he lived a life of secret wanting whilst being a high school teacher also running the family funeral business from home – the FUN HOME. Add a sizeable coffin on set and get ready for silly fun with singing and dancing AND point-blank serious conversations and self-talk.

When reading the synopsis, I became particularly interested to see how this storyline held within it a Tony winning ‘musical’. Suicide tragedy in a ‘musical’ is always questionable to me. I don’t know why. This is in fact the second show I’ve seen in as many weeks strongly containing such devastation, though the other was a sombre play. Noteworthy in both cases, audience was full!

 

 

We often hear that ‘right now’ is the best time to be gay. Acceptance is prevalent as it should be and teenagers tell me ‘cool to be gay’ is common. I’m so pleased for gay people that this is the current possible reality, to live freely, but when cartoonist Alison Bechdel’s graphic memoir was staged, it would have certainly been a more confronting topic in 2013. Now, over 10 years later, most of us likely think nothing of meeting, knowing and loving gay people. Either way, FUN HOME is highly relevant, back then and today.

The way in which this story is scripted for Bruce’s and Alison’s journey is through adult Alison remembering her past, while drawing what she ‘recollects’ in her mind and trying to ‘caption’ each picture. It’s extremely cleverly done; making thoughtful sense of what it was like in real life for them, for many.

Alison’s mother, two brothers, Alison’s love interest when she gets to college, and an intermittent love interest for Bruce make up the cast.

‘Alison’ played by ROSA McCARTY. Rosa is fantastic in this role. She works alongside ‘Small’ and ‘Medium’ Alisons like they are one. Different time zones, but the way in which Rosa ‘doesn’t’ interact almost says she will. She wants to. She is truly there, back then, inside a memory like time-travel.

‘Small Alison’ (as child) played by 11yo MILA ORCHARD. This girl has natural acting ability way beyond her years. She trains min.10 hours weekly refining her craft. She’s a singer. She’s a dancer. Already receiving awards and nominations, watch this space as Mila grows up! She can already conquer a solo song like a pro.

‘Medium Alison’ (in college) played by EMILIE HOYNE. When finishing her Primary Education degree, Emilie seeks to be a performing arts teacher. Any school would be lucky to have her! I hope she also stays present in theatre. Discussions with her on-stage parents in this role required the utmost maturity and exceptional skill. Singing ‘Changing my Major’, we loved her comical enthusiasm. Amazing talent!

‘Bruce’ (Alison’s father) played by MICHAEL GRAY. Last time I saw Michael acting on stage was in a very different production (Legally Blonde) so this role encompasses his extraordinary versatility. A gay man himself he notes in the Fab Nobs informative program that he feels a deep connection to Bruce’s inner life. I imagine he has the character genuinely at heart and wanting to do Bruce justice as he gives an award worthy performance – I hope it is realized. Michael is opera trained with an extensive array of principal roles past. I look forward very much to seeing more of his work.

‘Helen’ (Bruce’s wife) played by NATASHA BASSETT. Well done! Natasha brought this challenging character’s turmoil forefront in being the ‘straight’ spouse.

‘Roy’/others (Bruce’s gay interest) played by SHANE PRITCHARD. Shane has long listed credited shows. He could play anyone I’m sure. He’s extremely believable and this role may have extended him outside usual comfort zones.

‘Joan’ (Alison’s love) played by ANNA BEARSLEY. Anna has immediately noticeable stand-out confidence, so I read with no surprise she has multiple nominations for MTGV/Lyrebird Awards. Big future ahead for this girl!

‘Christian’ (brother of Alison) played by RAPH HJORTH. Stage School Australia where he started can be proud of this student and his continuing vocal training shows in stamina to sing and dance at same time. Good job Christian!

‘John’ (youngest brother) played by ELLIOTT HAYES. Age 9, 4th Fab Nobs production. He may very well grow up here; great place cultivating talent having opportunity early in very special productions. Elliott had fantastic reactiveness with his on stage siblings (probably had lots of fun at rehearsals too).

Congrats Director Richard Perdriau, Musical Director Olivia Sweeney, Choreographer Amber Orchard, President Sally McKenzie and all their creatives and behind the scenes team. We thoroughly enjoyed FUN HOME – even my hubby was nostalgic on ‘airplane’ memories. Thank you everyone!

As someone said, got tissues?

To book tickets to Fun Home, please visit https://www.fabnobstheatre.com.au/fun-home/.

Photographer: Craig Wetjen (John Travers Photography)

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Melbourne Child Cast Announced For Hit Broadway Musical, Waitress

Feature-WAITRESS

Four young Melbourne actresses were announced today to play the role of Jenna’s daughter Lulu in the Melbourne season of Broadway’s smash-hit musical WAITRESS, which arrives at Her Majesty’s Theatre Melbourne from 1 May. Lulu will be played by Stevie Denton (5 years old, from North Warrandyte), Lola Inman (5, from Langwarrin), Ruby Marshall (5, from Port Melbourne) and Evie Papas (6, from Templestowe). Tickets for new performances have gone on sale today for both the Melbourne and Sydney seasons, on sale at WaitresstheMusical.com.au

Leading the cast as Jenna will be Natalie Bassingthwaighte (Chicago, Shirley Valentine), while Gabriyel Thomas (Cats, Sister Act) and Mackenzie Dunn (Grease, Annie) play Becky and Dawn, Jenna’s coworkers at the diner. Charismatic star of stage and screen Rob Mills (& Juliet, Wicked) will play Dr Pomatter, and legendary actor John Waters (Jesus Christ Superstar, Oliver!) will be Joe, the owner of the diner. Keanu Gonzalez (Annie, West Side Story) will play Earl, Gareth Isaac (Elf the Musical, Mary Poppins) will play the role of Ogie, John Xintavelonis (The Wizard of Oz, The Lion King) will play Cal, and Annie Aitken (Guys & Dolls, The Sound of Music) will be the Jenna Alternate. The ensemble and swing cast comprises Cameron Boxall, Alexandra Cashmere, Ethan Jones, Dwayne Mitchell, Joseph Naim, Conor Neylon, Belle Parkinson, Emily Robinson, Elandrah Tavares, Bree Tipoki and Stephanie Wall.

“This inspiring show was a massive hit on Broadway where it played for almost four years, and was a huge success in the West End and across the world. WAITRESS has become a ‘must see’ musical, with its memorable music by Sara Bareilles and universal themes of hope and resilience,” said producer John Frost for Crossroads Live. “Get your tickets now to see this sensational Australian cast perform this moving and original musical.”

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
#WaitressAu @WaitressAu

See lead cast announcement video here
Download cast photos here – password “Jenna”

MELBOURNE SEASON DETAILS
Venue: Her Majesty’s Theatre
Season: From 1 May
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

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

 

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