Good Company

Company

Company Rating

★★★★★

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Company the Musical (music and lyrics by Stephen Sondheim and book by George Furth) is a show, originally produced in 1970, about Robert, a newly 35 year old man, who is constantly questioned about why he remains single. The musical takes us on a journey of self-discovery with Robert as he discovers the struggles of being tied down in a long-term relationship while also experiencing the loneliness of remaining single. This show is performed by the 3rd Year Music Theatre students from WAAPA (Western Australian Academy of Performing Arts). The character of Robert is double casted, played by Josh Condon and Cooper Williams, depending on which performance you attend. I had the privilege of watching the opening night performance with Cooper Williams portraying the leading role and got to experience his passion during the performance, especially through the musical numbers and dances.

Though the plot is fairly simple, the choreography by Bernie Bernard and the songs, written by the well-known Stephen Sondheim, certainly make up for it. My eyes were glued to the stage during the performance, especially throughout the musical numbers which captured the attention of all those seated in the theatre. From the minute the stage lights turned on, the audience began to laugh, lasting throughout the night, making for a great night out for those looking to keep their evening light hearted. The actors have wonderful comedic timing and the dialogue and monologues felt incredibly real and natural. The props of the show are handled effortlessly, as they moved on and off stage in the blink of an eye by the wonderful cast and the crew working behind the scenes. The musical numbers are powerful, and pull you in from the first lyric. I appreciated the physical comedy of the show, such as when the audience gets to watch a married couple battle it out through karate (a very standard practice in most marriages, so I’ve heard).

 

 

The curved stage is a unique set up and the simplicity of the set allows the audience to fully take in the performance. They have chosen to utilise a scrim in some scenes and all the sets and props were practical – not leaning into the modern technique of using screens to create backdrops. There is a live band off to the side, conducted by Craig Dalton. During the quieter moments of dialogue, sound effects such as rain and a busy Manhattan street fill the background to immerse us into the story. The hair and costumes reflect the 70’s era authentically and the costumes are vivid yellows, browns, and greens that fully immerse us in the era.

I highly recommend this show to anyone looking for a fun night out, especially to those young people who are preparing to pursue an education in the performing arts so you can see exactly the kind of performances that WAAPA can create.

Company is playing at State Theatre Centre of WA from 6 June to 11 June, 2026.

To book tickets to Company, please visit https://www.artsculturetrust.wa.gov.au/venues/state-theatre-centre-of-wa/whats-on/company.

Photographer: Stephen Heath

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A Chang-Chang, Changity, Chang, Shoo, Bop Musical Melody

Musical Melody

Musical Melody Rating

★★★★★

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For all those Hollywood buffs out there, you may struggle to restrain any uncontrollable toe tapping and humming during the Garrick Theatre’s latest production, the ‘Musical Melody’. Anyone would understand if you burst into song during ‘I’m Gonna Wash That Man Right Outta My Hair’ (South Pacific), ‘Le Jazz Hot’ (Victor/Victoria) or ‘We Go Together’ (Grease).

However, there would be plenty of complaints if anyone interrupted Katie Nowland’s operatic performance of ‘Can’t Help Lovin’ Dat Man’, in a spellbinding rendition of the Show Boat tune. Other highlights include energetic performances of ‘The Tapioca’ (Thoroughly Modern Millie) and ‘Carrying The Banner’ (Newsies).

It was wonderful to see some familiar faces return to the stage, including Carly Ranger and Lily Wakeling from the Garrick’s Sweeney Todd 2025 production, as well as Kody Fellows (Narnia). From ‘Cursed’ returned Steph Hickey, Erin Shay Horrigan, Ethan Dal Molin and Ben Vaughan-Sanders (who will also be performing in the upcoming ‘The Playboy of the Western World’ production).

To debut on the Garrick’s seasoned stage are Kyla Retirado and Priom Bhattacharjee in their first forays into community theatre, alongside Fringe Festival regular James Carduff.

 

 

Who can forget to mention host Ian Staunton’s British banter in between acts? No doubt I’m not the only one who hopes to see him return to the Garrick’s well-trodden stage, in a blaze of theatrical glory.

Musical director Juliette Basini and director Tamar Basini also joined the cast with song and dance performances. Under their direction and choreography, the mother-daughter duo brought their love of Hollywood classics to the stage with ‘Kiss Me, Kate’, ‘Meet Me In St. Louis’, ‘My Fair Lady’, ‘The Pajama Game’, ‘Singing in the Rain’ and ‘The Boy Friend’.

Community theatre would never have the opportunity to sparkle without the creativity of those working behind the scenes. So, let’s shine some light on Astro Stewart (Stage Manager), Nera Camponovo (Production Liaison), Mark Nicholson (Lighting), Joe Hoedemaker (Lighting), Declan O’Brien (Sound), Paris Romano Jenner (Props & Photography), Kieran Smith (Photography), Roisin O’Neill (Choreography), Katie Nowland (Vocal warmups), Tamar Basini (Costumes) and Juliette Basini (Photography and Graphic Design). A special mention goes to theatre President Ali McNamara’s help with direction, and Yvonne Star and her front-of-house team.

The Musical Melody takes you on a chang-chang, changity, chang, shoo, bop journey through the ages. With only four shows, it’s no wonder it’s already sold out, featuring an incredibly talented cast whose delightful routines left the audience grinning from ear to ear.

Established in 1932, the Garrick Theatre is Perth’s longest-running community theatre group. Annual memberships are available, and if you’re a cherished member, then you would already know that next on the agenda is The Playboy of the Western World, with performances starting on 4th June 2026.

To book tickets to Musical Melody, please visit https://www.taztix.com.au/event/garricktheatre/.

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From Page to Stage: Percy Jackson Delivers

The Lightning Thief

The Lightning Thief Rating

★★★★★

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6

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

To book tickets to The Lightning Thief, please visit https://drpac.sales.ticketsearch.com/sales/salesevent/160626.

Photographer: Perfectly Picturesque Photography

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Cats

Cats The Musical

Cats The Musical Rating

★★★★★

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1

The opening night of Andrew Lloyd Webber’s Cats at the Crown Theatre, Perth, delivered a polished, high-energy revival that showcased the production’s enduring strengths of choreography and crystalline vocals.

The long-running musical has been entertaining audiences since 1981 but for prospective patrons unfamiliar with Cats, don’t attend the show expecting a plot or even any dialogue. You will have a much better appreciation for it if you go for the exquisite dancing, singing and overall visual extravaganza. Cats is more a sequence of character portraits of the feline characters stitched together by a very thin storyline about a Jellicle Ball for all the Jellicle cats.

The show made more sense when I discovered that it was based on a series of poems from TS Eliot’s “Old Possum’s Book of Practical Cats” dating back to the 1930s. It is these poems that inspired the legendary Mr Webber to convert them into a musical.

I cannot fault any of the dancing or singing. The cast performed with remarkable precision and athleticism, sustaining demanding choreography. The unison work in the larger ensemble numbers was exceptionally tight. It is evident that the dancers are professional ballet and classical jazz dancers. The production’s success lies in the cumulative power of its choreography and vocal pieces rather than narrative complexity.

Bringing the cats to life are the dazzling costumes and richly detailed makeup which I was fortunate enough to see up close. Throughout the show, the performers would integrate themselves within the audience, purring, stretching and leaping up and down the aisles of the theatre.

 

 

The production’s scenic design embraces the junkyard setting, transforming the stage into an immersive, feline-sized world. An old oven, a rumpled shirt, car tires, these are rendered at magnified proportions so that the performers read unmistakably as cats in an oversized human environment.

The integration of car engine and police sirens sound effects and a sweeping “torch” effect as the cat ensemble scatter in hidden spots, transforms the junkyard into a living, reactive environment without relying on dialogue.

Gabriyel Thomas delivered a standout solo performance as the weary Grizabella The Glamour Cat, belting out the iconic Memory song.

Tim Haskayne was outstanding in his jazz ballet routine as the Magical Mr Mistoffelees who delivered a mesmerizing performance with impeccable control and grace.

I found it especially amusing and admire the dedication of one of the performers who remained on stage in character for the duration of the interval.

This staging of Andrew Lloyd Webber’s Cats operates with a first-class polish that flows with effortless precision. It is more a mixture of a ballet performance and a musical rather than a conventional musical and in its entirety a form of art to enjoy.

To book tickets to Cats The Musical, please visit https://catsthemusical.com.au/tickets/perth/.

Photographer: Daniel Boud

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