Sessions On The Pier With Sydney Chamber Choir: Time & Tide

Feature-Sessions on the Pier: Time & Tide

Now in its 3rd edition, Sydney Chamber Choir’s much-loved concert series fusing classical, jazz and popular song returns – this time welcoming Spring & celebrating the beauty of the changing seasons.

Presented in the intimate surrounds of The Neilson at Walsh Bay on Pier 2/3 by the harbour, this program invites audiences to experience the year’s cycle through music of warmth, reflection & joy.

Led by Sam Allchurch as well as Naomi Crellin and Nick Begbie (from the award-winning a cappella ensemble The Idea of North), the Choir joins forces with a superb jazz trio to explore the shifting moods of nature and time.

Benjamin Britten’s radiant The Succession of the Four Sweet Months and Joe Twist’s On the Night Train capture the poetry of the natural world in timeless choral writing. These are paired with imaginative arrangements of beloved favourites, including the Beatles’ Here Comes the Sun, the Beach Boys’ Their Hearts Were Full of Spring, Gershwin’s Summertime from Porgy and Bess, and the jazz classic Autumn Leaves, made famous by Nat King Cole.

Blending elegance, swing and lyrical beauty, Time & Tide offers a captivating evening where genres meet, voices shimmer, and the turning of the year is celebrated in music of light, colour and grace.

Artistic director and conductor Sam Allchurch said the choir had hugely enjoyed bringing audience a new way of experiencing the Sydney Chamber Choir in jazz-infused programs brought together by the ‘incomparable’ Naomi Crellin.

“Time and Tide is our latest instalment, exploring the different seasons of our lives in the intimate atmosphere of the Nielson on Pier 2/3. Naomi has arranged some of the best jazz classics with witty and beautiful twists which sit alongside some moments of a cappella stillness.”

Naomi Crellin added: “This program is close to my heart as it marries my first love of classical choral harmony with my evolution into the lush expression of jazz harmony. The repertoire demands a deeper connection to lyric and intent, and gives the choir the freedom to express itself on a different level. Having the opportunity to direct this fine ensemble and be trusted to guide them outside their comfort zone is a great privilege.”

Artists
Sydney Chamber Choir | Sam Allchurch, Conductor | Naomi Crellin Co-Director | Nick Begbie Co-Director | Kevin Hunt Jazz Trio

Program includes
Benjamin Britten: The Succession of the Four Sweet Months
Dan Forrest: Good Night, Dear Heart
George Gershwin: Summertime
Dave Grusin/Alan Bergman & Marilyn Bergman (arr. Crellin): When Summer Turns to Snow
George Harrison (arr. Crellin): Here Comes the Sun
Joseph Kosma/Johnny Mercer (arr. Connolly and Crellin): Autumn Leaves
Richard Rodgers/Oscar Hammerstein: It Might as Well Be Spring
Sigmund Romberg/Oscar Hammerstein (arr. Crellin): Softly, As in a Morning Sunrise
Bobby Troup: Their Hearts Were Full of Spring
Joe Twist: On the Night Train
Tommy Wolf/Fran Landesman (arr. Crellin): Spring Can Really Hang You Up the Most

Sydney Chamber Choir: Sessions on the Pier – Time & Tide
Sat 19 Sept 5pm & 8pm at The Neilson, ACO on the Pier, Pier 2/3 Hickson Rd, Walsh Bay
Tickets: $30-$110 | Bookings: www.sydneychamberchoir.org.au

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Brian Vriends Co-Writes Powerful New Australian Play 12 Angry Actors

Feature-12 Angry Actors

Australian screen and stage favourite Brian Vriends (All Saints, Wentworth, Underbelly, Sydney Theatre Company) has joined forces with award-winning criminal defence lawyer, actor and producer Celine Khoury to create 12 Angry Actors, a gripping new Australian play that confronts one of society’s most challenging questions: when someone has served their sentence, have they truly paid their debt to society?

Developed over seven years, 12 Angry Actors thrusts audiences into an explosive rehearsal room where twelve performers become embroiled in a fierce debate over whether a fellow cast member with a criminal past deserves a second chance.

As rehearsals unravel, so too do the lives of those on stage. Personal histories, hidden prejudices and long-buried trauma collide, forcing each character and, ultimately, the audience to confront their own beliefs about justice, redemption and forgiveness. Rather than offering easy answers, 12 Angry Actors asks where punishment ends, whether rehabilitation is truly possible, and if society is ever willing to forgive.

For Brian Vriends, the script’s emotional complexity was impossible to ignore.

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“What drew me to 12 Angry Actors is that it refuses to offer simple answers. It asks audiences to wrestle with difficult questions about justice, redemption and whether we really believe people deserve a second chance. Those are conversations worth having. Twelve Angry Actors is one of those rare stories that stays with you long after it’s over. I’m incredibly excited to help bring this powerful, thought-provoking story to the stage and can’t wait for audiences to experience it.”

Co-writer and producer Celine Khoury says the production is designed to challenge audiences rather than provide easy answers.

“As a criminal defence lawyer, I’ve spent my career representing people at the worst moments of their lives. This play isn’t about telling audiences what to think. It’s about asking whether we genuinely believe people can change, or whether redemption is something we only support in theory.”

The production features one of Melbourne’s strongest independent theatre ensembles, including Ursula Searle (Fun Home, Melbourne Theatre Company; Apple Cider Vinegar, Netflix; Bluey’s Big Play; Gabby’s Dollhouse Live!), Alexander Given (The Airport Chaplain, SBS), Celine Khoury (Evil Orders, Amazon Prime; Love With No Remorse; An Evening with Kahlil Gibran), Claire Warrillow (The Sunshine Club; And Then There Were None; Holy Water: Crown of Thorns), Monty Burgess (Last Seen, Apple TV+; Utopia, ABC; Lee Nelson’s Well Funny People, BBC), Ali Samaei (Oedipus Rex, Othello, The Importance of Being Earnest, The Addams Family), Faouzi Daghistani (more than 180 film, television, commercial and theatre productions), Joanna Karanikolopoulos (Yes, Prime Minister; Magnus Ex), Esther B Ebony (Articulate; Other Gods; Vinegar Tom) and Jacob Saunders (Soyboy; Cowboys Doing Laundry; 3AW and the Nine Network).

Following the success of Son of Byblos, Love With No Remorse and An Evening with Kahlil Gibran, 12 Angry Actors is Asamina Theatre Company’s most ambitious original production to date. Combining the tension of a courtroom drama with the intimacy of backstage theatre, this compelling new Australian work promises to spark conversation long after the curtain falls.

PERFORMANCE DETAILS
12 Angry Actors
Meat Market Stables, North Melbourne
20 – 30 August 2026
Tickets: https://www.eventbrite.com.au/e/12-angry-actors-tickets-1991553435938
Tickets: $40 per ticket.

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Adore Händel’s Birthday Party Melb Fringe 8-17 Oct

Feature-Adore Händel’s Birthday Party: Little Black Book Vol. 3

Adore Händel is celebrating their 269th birthday — and you simply must not miss the festivities.

Spanning centuries of ill-advised romances, electric chemistry, and the occasional catastrophic misjudgement, Adore has lived, loved, and documented it all in their legendary Little Black Book. Volume Three was to be the centrepiece of this evening’s festivities — a glittering collection of the most scandalous tales yet. There is, however, a slight complication…

Join Adore and their long-suffering assistant Peter for the most chaotic, glamorous, and surprisingly moving birthday party you’ll ever attend — complete with operatic vocals, baroque camp, and a burning question.

Part cabaret. Part whodunnit. All fabulous.

Adore Händel’s Birthday Party: Little Black Book Vol. 3 is the third installment of the award-winning drag cabaret series beloved by Melbourne Fringe audiences for its unique blend of classical music, theatrical storytelling, and absolutely zero shame.

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Dress appropriately. Bring a gift. Tell no one what you witness.

★★★★★ “One of the funniest sixty minutes you will spend at the fringe.” — Barry Hill OAM, Stage Whispers
★★★★★ “A glittering humorous show with a message which is stunningly performed.” — Rob McKinnon, Glam Adelaide
★★★★★ “Formidable, fabulous and fearless.” — Lilithia Reviews

ACCOLADES

Adelaide Fringe 2026 Weekly Award — Best of Cabaret
Fringe World 2026 Weekly Award
Melbourne Fringe 2025 Nominated Best in Cabaret | Judges’ Pick

SESSIONS — FESTIVAL HUB: TRADES HALL, ARCHIVE ROOM

★ Preview: Wed 7 Oct, 8:30 pm — $25 all tickets
Week 1: Thu–Sat 8–10 Oct, 8:30 pm | Sun 11 Oct, 7:30 pm
Week 2: Wed–Sat 14–17 Oct, 8:30 pm | Sun 18 Oct, 7:30 pm
Full price: $35.00 | Concession: $30.00 | Duration: 1 hour

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Ballet At Its Darkest: Big Live’s Dracula Returns To Sydney & Melbourne

Feature-Dracula: Ballet at its Darkest

AUSTRALIAN-BORN DRACULA EXPANDS TO 65 PERFORMANCES ACROSS SYDNEY AND MELBOURNE

Fresh from sold-out international seasons, BIG Live brings its Brisbane-born global success back to Melbourne and Sydney, across 65 performances. Following sold-out seasons in London’s West End and the United States, and a record-breaking tour across Australia and New Zealand in 2025, BIG Live’s critically acclaimed Dracula: Ballet at its Darkest will return home for 65 performances across Sydney and Melbourne: 35 in Melbourne and 30 in Sydney.

The Australian-born production will play 35 performances at Her Majesty’s Theatre, Melbourne, from 10 September to 25 October 2026, alongside two Sydney engagements: eight performances at the State Theatre from 22 to 27 September, followed, due to overwhelming demand, by 22 additional performances at the Capitol Theatre from 7 to 29 November 2026.

The Capitol Theatre extension adds 22 performances to the originally announced eight-show State Theatre engagement, taking Dracula’s Sydney season to 30 performances in total. It will also return a major production to dates made available after the cancellation of Beetlejuice: The Musical’s Sydney season, supporting work for artists, technicians, venue teams and the wider live-performance economy.

The additional Sydney performances have been welcomed by Foundation Theatres, with Chief Executive Graeme Kearns placing the expansion in the context of the wider pressures facing the Australian live performance sector. “The industry relies on producers with the confidence to invest, adapt and continue bringing ambitious works to our stages. It is particularly significant to see an Australian founded company developing work here, building an international audience for it and then bringing that success home. Productions of this scale sustain artists, musicians, technicians and theatre workers, while giving audiences compelling reasons to experience great live performances. We are delighted to welcome BIG Live back to the Capitol Theatre with Dracula”

In Melbourne, the season also marks BIG Live’s return to Her Majesty’s Theatre during the venue’s 140th anniversary year. “In our 140th year of proudly entertaining Melbourne audiences, Her Majesty’s Theatre is delighted to welcome BIG Live back to our stage with Dracula: Ballet at its Darkest. We are proud to present an Australian-created production that has grown into a genuine international success, performing on major stages across the United Kingdom, the United States, Asia and Australasia. Its bold storytelling, exceptional artists and impressive theatrical scale make it a particularly exciting production to welcome back to Melbourne.” Quan Tu, Chief Operating Officer, Her Majesty’s Theatre

For BIG Live, the 65-performance return is part of a wider story of Australian investment and international growth. Founded in Brisbane and operating without government funding, the independent company is on track to sell more than 400,000 tickets across its productions in 2026, with more than 200,000 people expected to see Dracula during its 2026 international tour alone. “There’s no question the touring landscape is challenging right now, but there is also real cause for confidence. The response to Dracula – both across Australia and on major international stages – shows that when work genuinely resonates with people, the demand is there. We are proud to support Australian talent and to prove that Australian-led productions can hold their own anywhere in the world. As an independent company, we have built BIG Live around audience demand, long-term employment and the confidence to move quickly when opportunities arise.” — Khalid Tarabay, Executive Director and Co-founder, BIG Live

For Artistic Director and Co-founder Joel Burke, the Australian seasons are also a creative homecoming for a production developed in Brisbane and now established on major international stages. “Dracula was created in Brisbane with the belief that ballet can deliver the same emotional intensity, scale and excitement as any major theatrical production. We wanted to create something cinematic, immediate and unapologetically theatrical – an experience that could connect with devoted ballet audiences while also bringing people into the theatre who may never previously have considered seeing a ballet. To see an Australian-created production welcomed by audiences in London, the United States and Asia, and now returning for these major seasons at home, is enormously rewarding.” — Joel Burke, Artistic Director, Choreographer and Co-founder, BIG Live

BALLET AT ITS DARKEST

Choreographed by BIG Live Artistic Director and Co-founder Joel Burke, Dracula: Ballet at its Darkest is a bold, cinematic reimagining of Bram Stoker’s gothic classic – a visceral exploration of forbidden love, grief, obsession, immortality and sacrifice.

The production features a powerhouse cast of artists with experience at the Mariinsky Theatre, English National Ballet, Stuttgart Ballet, The Australian Ballet, Queensland Ballet and other leading companies. BIG Live principals Ervin Zagidullin and Abbey Hansen perform as Dracula and Mina Harker, with internationally renowned guest artist Adamzhan Bakhtiyar appearing at selected performances.

Set within a world of gothic grandeur created by award-winning CTS Design, Dracula is driven by a powerful score led by Emmy Award-winning composer Jason Fernandez and featuring masterpieces by Bach, Rachmaninov, Mozart, Liszt, Mussorgsky, Mendelssohn, Saint-Saëns and Debussy.

Dracula’s 2026 international tour has included the London Palladium, Sadler’s Wells, Edinburgh Festival Theatre, San Francisco’s Orpheum Theatre and Singapore’s Esplanade Theatre, before returning to Brisbane, Melbourne and Sydney. Further international performances are scheduled for Hong Kong and Bangkok in January 2027.

PERFORMANCE DETAILS

Melbourne – Her Majesty’s Theatre: 10 September – 25 October 2026 | 35 performances | Tickets and venue information
Sydney – State Theatre: 22 – 27 September 2026 | 8 performances | Tickets and venue information
Sydney – Capitol Theatre: 7 – 29 November 2026 | 22 additional performances | Tickets and venue information

Full production and ticket information: bigliveco.com/performances/dracula

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