Art in Motion Theatre Company are back at the Don Russell Performing Arts Centre with The Lightning Thief: The Percy Jackson Musical—and as a family who love musical theatre and have devoured everything written by Rick Riordan, we were counting down the days until the show.
We arrived dressed in our finest orange and blue (as you do, IYKYK), and loved seeing so many audience members leaning into the fun—camp colours, hand-painted bead necklaces, the lot. This was an audience coming in with high expectations. Thankfully, this talented cast more than delivered.
The story follows Percy Jackson (Joshua Hollander), who discovers he’s a half-blood—his father is none other than Poseidon. After his life takes a sharp and unexpected turn, Percy finds himself at a camp for children of gods and mortals before heading off on a quest filled with monsters, riddles, and a race against time. Alongside Annabeth Chase (Una Minello) and Grover Underwood (Cosimo Trichelo), Percy must try to prevent a war among the gods.
No pressure.
The show runs for around two hours (plus intermission) and is fantastic value for a community theatre production. A huge congratulations to the cast—these performers can sing. As well as the 3 lead characters, hats off to the other performers who seamlessly transitioned between so many characters. The live band was incredible (and honestly, live music just lifts a show in a way nothing else can), their enthusiasm was contagious. This is Liam Tickner’s directorial debut, and what a strong one it is. The set design by Craig Delbridge is clever and effective, using simple elements to bring scenes to life (the statue garden was a standout). Costume designer Kylie Martin has also done a great job capturing the essence of each character.
I was asked before going, “Isn’t that for kids?” And look… not no…
The recommendation is 13+, but if your younger kids are okay with some fight scenes, they’ll likely love it. The books are aimed at around 9+, and I’d happily take an 8 or 9-year-old. That said, this absolutely holds its own for adults—I’d have enjoyed it just as much without the kids (although I suspect I would never have been forgiven) and there were lots of adults there of all ages without children.
If you love Percy Jackson, mythology, urban fantasy, or just a good musical, this one is well worth your time. The show is still running from 16–18 April (with two performances on the 18th). You can find more information here: https://www.gosnells.wa.gov.au/news-events/events/lightning-thief
10 years since its Broadway debut, School of Rock The Musical is back at the top of the class, thanks to Passion Productions. A musically catchy, infinitely quotable and enormously demanding show, SORTM is delivered with such courageous energy and commendable execution, the audience feel like they’re in the band, on top of mount rock – sticking it to the man!
Based on the 2003 Jack Black film, SORTM follows Dewey Finn (Lachey Gleadhill), a struggling musician crashing with his friend Ned Schneebly (Jackson Kellaway) and Ned’s partner Patti Di Marco (Isabella Farry) – to Patti’s vocal and repetitive disapproval. Under pressure to start contributing financially – and suffering from a hangover, in addition to the indignity of being kicked out of the band he started himself – Dewey pretends to be Ned, taking up a substitute teaching assignment under his assumed identity, at the prestigious but stuffy and structured Horace Green Prep School.
While at Horace Green, Dewey quickly wins over the students with his unorthodox exuberance and enthusiasm, polishing their musical potential, entering them in The Battle of the Bands. However, his legitimacy and longevity at Horace Green hang in the balance; Will the school faculty or parents uncover Dewey’s deceit? Will Horace Green empower the students to succeed, when their chosen path subverts set expectations?
As Dewey Finn, Lachie Gleadhill is well cast, gaining momentum throughout the performance. Gleadhill has a natural rapport with scene partners, especially the youngsters. This is perhaps unsurprising, where Gleadhill is a high school music teacher by trade. It is nice to see the grumpier, hung over Dewey lighten into the more youthful and optimistic incarnation in the second half; Dewey Finn works best when played loose and light.
Jackson Kellaway is an affable Ned Schneebly, providing a centred counterpoint to Dewey’s manchild character; a rocker at heart, like Dewey, but unlike Dewey he has abandoned his dream of musical fame in favour of a respectable day job, reconciling himself to a grounded, grownup reality under the thumb of Patti (Isabella Farry). As Patti, Farry is an entertaining study; While she is perhaps the stories chief antagonist, naggingly judgmental, putting Dewey down at every opportunity, on some level we can sympathize with her predicament, dealing with an inconsiderate, freeloading friend of her partner, outstaying his welcome.
My favourite adult performance comes from Isabel Kruse as Miss Mullins, bringing deft nuance to her character’s story arc, in addition to a remarkable operatic voice, which also lends strongly to the show’s more contemporary fare. Kruse’s number ‘Where Did the Rock Go’ beautifully illustrates the show’s deeper counter theory- that real life requires compromise, where people settle for lower risk realities, in favour of pursuing their wilder dreams.
However, SORTM truly belongs to the talented young cast, who each deserve hearty recognition for their great work. It is wonderful to see such dedication to detail, presenting fully realised characters who are alive and fully fleshed-out, filling the stage with interesting shapes, serving the scene even when they are not at the centre of the dialogue, avoiding any dead moments.
Particular highlights from the younger cohort include Saana Chang as Summer Hathaway, turning in a lively performance with charisma and excellent dance and gymnastics ability, Emily Winwood as Zara Mooneyham with her natural stage presence, emotional gravity and superlative musical abilities, and Alessia Lily Monteverde as Tomeka Spencer-Williams, showing incredible vocal ability, with precise vocal runs and excellent pitch.
Chloe Coleman as Freya Hamilton catches the eye with rhythm and commanding confidence belying her youthful age, while Henry Hedger is a charismatic Billy with terrific comedic timing and the perfect amount of sass.
A talented ensemble cast play multiple adult roles seamlessly, while the onstage band capably guide the tempo and bring atmosphere to the show.
While on preview night there were a couple or minor sounds issues, and an occasional flat note, such criticism is picky, when SORTM is such irresistible fun. Huge credit is due to the Production Team, led by Director Connor Clarke, alongside Musical Director Jacqueline Atherton and choreographer Stephanie O’Shea, to triumphantly present a complex show like SORTM at this scale and quality. Overall, an entertaining, family friendly night out, that is towering, empowering, and crackling with energy.
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
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.
