perth - Whats The Show

Good Company

08/06/2026 Irena Fox🥉

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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Robots On The Rise

25/05/202625/05/2026 Irena Fox🥉

R.U.R. (Rossum’s Universal Robots) Rating

★★★★★

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Rossum’s Universal Robots is a science fiction play written by Karel Capek and directed by Robrecht Herfkens. It is a four act play with two intervals, lasting about two and a half hours.

This production is set in the past and the main actors really set the tone of the era. Tod Trotman is amazing at delivering continuous dialogue and does a remarkable job with his mannerisms to capture the era. Candice Preston, who plays Helena Glory, is passionate and does a wonderful job with her expressions. She makes the audience feel included with her dialogue. The production includes a wide cast of all ages and the robots do a magnificent job at making you feel on the edge of your seat as they begin to take over the world. The performance of Radius, played by Stephan Pfister, is unnerving. The actors who play the group of managers continue acting in the background, creating realism to the scene. The way they portray the characters after the interval makes them believably older.

Both the set and costumes also do a wonderful job of setting the era. The set painting is a work of art and in between acts, there are massive changes to the impressive set build, giving the audience plenty to look at. The interior and exterior set is very unique, allowing the audience to view both sets at the same time. Lighting changes are infrequent but effective, especially towards the end, when there is a short strobe light sequence. The costumes are simple but effective. The robots wear simple white jumpsuits and the humans wear dresses and suits. As time passes throughout the performance, the costumes and hair changes reflect the passage of time.

Music is scarce but when it is played, our attention is drawn to it. Sound effects during the performance surround the audience, making us feel included. During the intervals, robotic-like music is played for our entertainment and during the second interval, the theater becomes immersive with the theatre staff dressing up as the robots.

It is very interesting to think about how this play was written in the 1920s but still captures the issues of A.I. that are rising today. I think it was an excellent choice of the theatre to choose this play (and to keep it in the era it was written, as opposed to reimagining it in our future) as the themes are still relatable and it is interesting to see how the robot takeover was envisioned in the past. This is a great show for the science fiction lovers among us.

Rossum’s Universal Robots is playing at Roxy Lane Theatre on May 23rd, 24th, 29th, 30th, 31st and June 4th, 5th, 6th, 7th.

To book tickets to R.U.R. (Rossum’s Universal Robots), please visit https://www.taztix.com.au/event/roxylanetheatre/.

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Little Red

17/05/202617/05/2026 Natalie Rees🌟🎭

Little Red Rating

★★★★★

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There is something genuinely special about watching a child experience live theatre for the first time — and Freeze Frame Opera’s Little Red captures that magic effortlessly. Attending with my three-year-old, I spent much of the performance glancing sideways at her permanent smile, wide eyes and spontaneous giggles as she sat completely captivated by her first opera unfolding onstage. For a production aimed at introducing young audiences to opera, Little Red succeeds brilliantly in making the art form feel joyful, accessible and wonderfully alive.

Inspired by Mozart’s Don Giovanni, this clever reimagining follows Little Red as she navigates life with her mother’s new boyfriend, Don, before unexpectedly befriending his talking dog, Wolfie. Running at just 40 minutes, the show understands its audience perfectly — energetic, fast-paced and packed with humour, while never sacrificing musical quality or emotional warmth.

Charis Postmus bursts onto the stage with infectious energy, immediately commanding the attention of even the youngest audience members. Her performance is vibrant and playful, grounding the production with warmth and charisma. Sholto Foss is an absolute delight as Wolfie, delivering physical comedy with precision and enthusiasm. His expressive movement and comedic timing had both children and adults in fits of laughter throughout.

Sam Claxton brings an easy charm and humour to Don, while Michelle Pryor’s phenomenal vocals elevate the production to another level entirely. Her voice is stunning — rich, expressive and technically impressive — providing moments of genuine operatic brilliance within the playful framework of the show.

Another standout is the interaction with pianist Tommaso Pollio, whose presence becomes part of the storytelling itself. Rather than remaining hidden in the background, Pollio’s engagement with the performers adds another layer of fun and accessibility, helping demystify the operatic experience for younger audiences.

One of the production’s greatest strengths is its post-show Q&A and interactive component, where children are invited to ask questions and learn how opera singers use their voices by engaging in interactive activities and singing themselves. Rather than opera feeling distant or intimidating, Little Red opens the door wide and invites children inside.

Having previously seen director Penny Shaw perform onstage herself, it is exciting to now see her creative vision shaping productions from behind the scenes. Her signature warmth, intelligence and energy are evident throughout the entire show. Shaw clearly understands how to create theatre that respects children’s intelligence while remaining playful, engaging and deeply entertaining.

Perhaps most importantly, Little Red demonstrates why introducing opera to children early matters so much. When presented in an accessible and imaginative way, opera loses any sense of cultural distance or exclusivity and instead becomes what it should be: storytelling, music and emotion shared with everyone.

Freeze Frame Opera continues to prove itself as one of Perth’s most important companies for young audiences. If you have ever wondered how to introduce children to opera, this is the perfect first experience. Go and see it or get it out to your school — you may find yourself just as enchanted as the children around you.

To book tickets to Little Red, please visit https://www.freezeframeopera.com/little-red-2026/.

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The Shepherd’s Hut

15/05/202615/05/2026 Yannick Benoit🌱

The Shepherd’s Hut Rating

★★★★★

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The Black Swan Theatre Company, presents The Shepherd’s Hut at the Heath Ledger Theatre. Adapted by Tim McGarry and directed by Matt Ejertton and taken from the novel by Tim Winton.

Just wow…what a performance. I couldn’t fault it. I was gripped from beginning to end!

The story follows young Jaxie Clackton through the agonising heat of the desert, only to be matched by the internal agony of his past. While battling to survive the Australian outback, Jaxie stumbles across a dwelling on the edge of a salt lake in the middle of nowhere where he finds Finton McGillis, a disgraced Irish priest. Finton is isolated and desperately seeking salvation from a damaged past, purposely deprived of human contact as punishiment for his sins. The dynamic between Finton and Jaxie is remarkable. The tension, raw emotion and sense of danger between the two, created an atmosphere in the theatre that kept everyone on the edge of their seat.

Finton was played by George Shevtsov, who brought an element of compassion and empathy to the very angry and hot blooded Jaxie, played ever so powerfully by Ryan Hodson. Often I felt like Shevtsov was trying to tame an injured, wild animal. The two very masculine characters pushed each other to the limit and pressed each other until cracks from their past would surface, leaving the audience in a gasp, but raising more questions then answers. Each heated debate between the two drew the audience in even more.

A large sand-covered stage stretched almost endlessly across the space, creating the feeling of the harsh Australian outback. The set design was probably the most simple I have ever seen on a stage. But it added to the raw, exposed landscape, which set the tone and sense of isolation, loneliness and helplessness. The clear sand contrasted beautifully against the textured drapes, which added important visuals when needed and the lighting against the sand and drapes were beautifully orchestrated with the mood.

The stripped-back design felt intentional rather than minimal, as our focus remained on the physical movements and rapid psychological changes of the characters. The brilliant story telling by The Hat (Ben Mortley) and The Hair (Ella Prince) amplified the emotional weight of the performance. With their dynamic tones and rhythm, we were able to imagine ourselves in different scenes instantly.

Personally, I loved how this story is fragile in ego, dangerously honest, and strangely tender. Both men, clearly needing help but refusing to show weakness, are a mark on society and confront young men in crisis and how they respond to fear and trust. Clearly ashamed of their past, they are literally screaming out for redemption but unable to forgive their own sins or the sins of others.

This truly is a powerful play and you must experience it the energy of it. It does however, contain coarse language, adult themes and references (or abstract simulations) to violence including family and domestic violence which can be triggering.

To book tickets to The Shepherd’s Hut, please visit https://blackswantheatre.com.au/season-2026/the-shepherds-hut.

Photographer: Philip Gostelow

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