Perth Musical - Whats The Show

Cats

14/11/2025 Manuela Kacomanolis🥉

Cats The Musical Rating

★★★★★

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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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Urinetown, The Musical

12/11/2025 Manuela Kacomanolis🥉

Urinetown, The Musical Rating

★★★★★

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The name Urinetown may put some people off but it’s all part of the humour in this satirical comedy musical which delivers a powerful message on greedy corporations, capitalism and environmental sustainability.

Directed by Andrew Baker, Urinetown is the story of a town in which a devastating drought has led a government-enforced ban on private toilets in an attempt to preserve water usage. The population must now pay for the “privilege to pee” at public toilets. These public amenities are owned and operated by Urine Good Company (UGC).

As in every city, there are good areas and bad areas, Amenity 9 is the worst of the worst. Here, the down and out-of-luck residents, scramble each morning and evening to find enough money to pay for the usage of Amenity 9 toilets. Urinating and defecating in public are strictly against the law but those who can’t afford to use a public amenity, it’s their only option. If caught, they are sent to “Urinetown”. However, it doesn’t take long to figure out that Urinetown is not an actual town.

When Old Man Strong is hauled away to “Urinetown” his son Bobby Strong leads the residents on a revolution against the government and the corporations, in particularly UGC.

After crossing paths with the good-natured but naive Hope Caldwell, he discovers she’s the daughter of the UGC’S tyrannical and money-hungry CEO, Caldwell B. Caldwell but his love and affection for Hope does not deter him on his mission to bring about social equality and justice, and most importantly, to pee for free.

The concept of the musical is based on the idea that “people multiple faster than their resources” from the British economist, Thomas Robert Malthus’ (1766-1834). The play takes that idea one step further with drastic measures in place for preservation of water resources.

Although Urinetown is a cautionary tale set in the near future, the music, the costumes, even the manner in which they spoke and overall feel of the musical gives off strong 1930s prohibition era vibes.

In reality, charging to use a public amenity is not so unusual especially in Europe and so it was this pay-per-use toilet that inspired writer Greg Kotis to create Urinetown.

The whole cast delivered a phenomenal first-class performance. Izzi Green stood out with a stunning vocal performance.

Urinetown is such a clever satirical musical. I particularly found funny the flashback scenes with Old Man Strong and Tiny T.
Officer Lockstock and Little Sally act as narrators throughout the musical and their interactions are hilarious.

Urinetown is currently playing at the Liberty Theatre in Perth, and it’s a brilliantly funny satirical musical. It’s sharp commentary on sustainability and corporate greed feels more relevant today than ever before.

To book tickets to Urinetown, The Musical, please visit https://www.westernskyprojects.com.au/.

Photographer: Mark Flower Photography

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Monopoly: The Unauthorised Musical

02/11/202502/11/2025 Breanna Redhead🥉

Monopoly: The Unauthorised Musical Rating

★★★★★

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How refreshing to see a completely new theatre works here in Perth, clearly crafted with great care and thought. Monopoly: The Unauthorised Musical – whilst not perfect – is a breath of fresh air, offering an eclectic soundtrack, and committed performances across the board.

Originally created as a short-form musical by Jasper Cruden for his final composition assessment at WAAPA, the concept has since been fleshed out to full-length musical, now featuring 42 unique pieces of music (including underscoring) and an expanded story.

A strong ensemble cast brings to life our players (literally), each inspired by a classic board game. Together in a kooky Wonderland-esque realm they band together to take on the power hungry Mayfair.

From the moment you enter the theatre you are drawn into the world of the show, with a suite of board games offered in the foyer for patrons to try their hand.

This show was incredibly cast, with each actor not only physically embodying their characters to a tee but leaning into their archetypes with great energy. Strong performances from everyone – Caleb Haidary is astute and noble as Sir Knight, pining over Georgia Goff’s eccentric Lady Luck. Goff also shows great physicality in bringing to life Madame Charade. Ethan Battle was a livewire as Admiral Cannonblast – showing excellent characterisation and vigour. While Stacey Gobey displays her vocal prowess as the cunning Mrs Wordsmith.

Personal standouts were Mary Carter as the audacious Mayfair, with a captivating stage presence and stunning vocal performance, such a joy to watch. While I couldn’t stop smiling at Jake Battle as Baron Von Strategy, always giving 1000% even when not the focus of a scene.

Jordan Richards as game-opposed Scott had the hardest job in my eyes, portraying an ‘average joe’ among a sea of exuberant personalities. While giving a solid performance, true to his character, it ultimately felt a little flat against the rest of the cast simply given its nature.

I really enjoyed the set in this production, minimal but well utilised – Sarah Halton’s design, built by Henry Howard, featured multiple cut-up, jagged wardrobes – again leaning into a whimsical feel, providing an ambiguous sense of time and place. The crooked pieces also help serve as platforms, tables and cupboards throughout which allowed for fun and varied blocking. Imaginative lighting design from Matthew Roberts was also a welcome addition, particularly in the ‘rabbit hole’ and ‘table flipping’ scenes.

As with any new works there were some areas for improvement. Musically, the score is wonderful, spanning a number of genres while keeping true to the essence of the show. The orchestra (under the musical direction of Jasper Cruden) didn’t miss a beat in bringing it to life. A couple songs I felt were misplaced in their whereabouts of the show but still worked well overall. The vocals were slick with harmonies evenly balanced and blending well, though I feel singers were at times over powered by the orchestra. Diction and projection from most whilst singing could also be improved, especially given this is a new work not already familiar to audiences, and the numerous counter-melodies that feature in the show it was sometimes hard to hear the different layers.

Though not a dance heavy show, Tayah Crothers’ choreography was well suited to the genre and executed with flair, while some of the more sharper moments could have benefited from improved timing.

Ian Tassicker’s script is quite witty, something you wouldn’t expect from the dark tones given off in the marketing of the show. A real pleasant surprise. Personally, pacing was a main area for improvement, with some scenes feeling quite clunky in a very intentional set up to a song, while others were the opposite and felt too quick to jump into another tune. I wonder how much of the original song cycle was featured in Act 1 compared to Act 2 as the latter felt quite rushed and not as thought out, in a bid to wrap up loose ends.

All in all, this show is fantastic – though some elements may need refining, it did not impact my overall enjoyment. For a world premiere of a new musical the Roundhouse team have done an excellent job with their debut production, so with just a few weeks left, do yourself a favour and go and see this lively and unique new work.

To book tickets to Monopoly: The Unauthorised Musical, please visit https://www.trybooking.com/events/1464504/sessions.

Photographer: Deprimo Photography

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Here You Come Again

25/08/2025 Peri Watson🆕

Here You Come Again Rating

★★★★★

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“Are you a Dolly fan?” The man beside us asks before the show starts, but I’m not sure how to respond. Admittedly, I only know her three big songs (I’ll let you guess which), but never have classified myself as a fan. However, after this evening, I think I may have changed my tune.

‘Here You Come Again’ is an uplifting story about love, music, joy, and hope, set in a time many of us would like to forget. Yes, the ‘unprecedented times’ of early COVID lockdowns. Dash Kruck plays Kevin, an aspiring (and struggling) comedian, forced to social distance in his parents’ attic. Without work, a partner, or any hope for the future, he turns to his record collection and asks, “What Would Dolly Do?” As if by magic, Dolly herself, played by the show’s co-creator Tricia Paoluccio, manifests from a life-sized poster, breaking out into the titular number Here You Come Again, and guiding him along a journey of self-love and realisation.

Kruck’s portrayal of Kevin’s self-worth issues was extremely resonant, particularly as a creative. The struggle of not feeling worthwhile as a person seeping into your creative output is something I, and many others, could understand. Kruck brought a vulnerability and earnestness to the role that was deeply sympathetic, while also playing off Paoluccio’s comedic energy and shining in his musical performances.

Paoluccio’s performance was more than an impression of Dolly – it was an embodiment. Her vocals stunned, not only in quality and style, but also in likeness. Her cheeky comedic timing and infectious positivity was well-received, as she played into the less-serious components of the Parton persona (“It costs a lot of money to look this cheap!”).

Despite the story not being centred on Dolly, Paoluccio sprinkled the occasional tidbit throughout her chats with Kevin, such as her losing a Dolly Parton look-a-like contest. The mention of her marriage to Carl Dean was touched with a layer of sadness, given his recent passing in March 2025, yet the 60-year-long relationship was honoured with grace and love.

The ensemble was fantastic, not only contributing as minor characters throughout, but also singing, dancing, and playing alongside the live band. Kellie Rode was lovely as Kevin’s germophobic but well-meaning mother and was a great contrast to the gruff (but also well-meaning) Andrew Worboys as Kevin’s dad, who additionally led the band as the musical director and keys player. Rode was joined by fellow WAAPA graduate Bailey Dunnage, who played Kevin’s ex-boyfriend Jeremy. Dunnage also demonstrated some Magic-Mike level dancing (choreographed by James Maxfield) during the number Why’d You Come in Here Lookin’ Like That, in which we are also treated to a performance from Kevin’s drag persona, Polly Darton. Rounding off the ensemble was Laura Joy Bunting, who played the abrupt and bitter Tish, Kevin’s boss, as well as accompanying the band with acoustic guitar and lovely backing vocals.

Despite the singular location, the detail of the set kept you interested, with posters, stickers, toys and junk spread across the stage, making for an authentically lived-in environment. The Australian Adaption team (Fiona Harris & Mike McLeish) did a wonderful job in collaboration with designer Paul Willis in adding Australian iconography throughout, such as Humphrey B. Bear, a Milo tin vase, and kookaburra song over the eucalyptus backdrop. The lighting, by Jason Bovaird, was also fantastic, particularly during musical numbers and special effects moments.

The only detractor from the evening was during the finale, in which an overly enthusiastic audience member hopped on stage for an impromptu dance. While certainly indicative of the energy and vivacity in the room, it was a moment that should’ve been for the musicians to receive their flowers, and was disrespectful to the band, stage crew, and theatre staff. Congratulations to Tina Harris, Luke Herbert and Ash Murdica for handling the situation with such professionalism, while making the rest of us dance in our seats.

Whether you’re a huge Dolly fan, barely know her, or are somewhere in between, ‘Here You Come Again’ is an inspiringly joyous show that is sure to leave you smiling, and your toes tapping. I, for one, am certainly inspired to spend more time with Dolly myself.

Recommended: Dress in true Dolly fashion – however you like! (Though rhinestones, cowboy hats, and denim are strongly encouraged!).

To book tickets to Here You Come Again, please visit https://hereyoucomeagain.com.au/.

Photographer: Cameron Grant

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