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The Pirates of Penzance

28 March 2025 Paige Jenkins

The Pirates of Penzance Rating

★★★★★

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Hayes Theatre Co has made their way to the Wollongong stage at the Illawarra Performing Arts Centre, with a fresh and flamboyant flair to Gilbert and Sullivan’s seminal classic of The Pirates of Penzance (or The Slave of Duty).

Usually, a cast of around 40 actors, this delightful production decided to challenge their performers by asking the five of them to play the entire ensemble. This feat could very easily have become confusing and overwhelming for both the actors and the audience, but this cast made the stage their own and gave it their all to create a fast-paced and dynamic performance with seamless or in Billie Palin’s case, intentionally comedic on-stage quick-changes.

The use of the piano was very well done, becoming a change-room, a monologue-worthy soap box, and an off-stage curtain, all while pouring out beautiful scores. That piano is arguably the sixth and most dynamic cast member. Whilst a few of the cast members played it during the 2-hour performance, it is the dedication and consistency of Trevor Jones that should be commended as he somehow managed to continue playing whilst being carted around and changing costume in the blink of an eye, and have the audience in stitches with his lyric changes and commendable diction and pace during ‘I Am the Very Model’.

It’s a personal favourite when a performance becomes an immersive experience like this one, and I adore it when the theatre staff take the theme in stride as the IPAC has done. From small costume additions to the ushers to a special cocktail for the event, in addition to on-stage seating and audience-actor interactions, The Pirates of Penzance had it all. Some of the audience members really stole the show during their five minutes of fame and it just made for a beautiful and joyful experience.

Amid some technical difficulties, the cast remained cool and level-headed. Aside from one hiccup, where the audience stepped in to maintain morale and keep the energy high, the cast didn’t miss a beat.

The vocals and dynamic accent work of Brittanie Shipway was absolutely breathtaking. Her operatic range and ability to stay in and switch between such polarising opposite characters is just incredible. She brought the “wow” factor times ten, which is especially hard to maintain when you’re onstage for all but a few moments of a show of this length. In the company of a big name like Jay Laga’aia who exudes passion and charisma, and is just such a treat to watch, Shipway made certain that she was not to be forgotten.

Maxwell Simon was everything that Fredric should be. His voice had such power and his portrayal of a naïve but determined to be self-assured boy was utterly hilarious. His physical comedy was just brilliant, capturing the attention of the audience whether he was in the spotlight or not.

The Pirates of Penzance is the perfect show to watch to end the week, so make sure to grab yourself a ticket before they sail away from Wollongong by heading to the Merrigong Theatre Company’s website for the remaining shows this weekend!

To book tickets to The Pirates of Penzance, please visit https://merrigong.com.au/shows/the-pirates-of-penzance/.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Paige Jenkins

The Little Mermaid: Out Of Your World

24 March 2025 Cherelle

The Little Mermaid Rating

★★★★★

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I entered the enchanting “Under The Sea” world to review The Little Mermaid by PACA Productions at The Concourse Chatswood and “Darling it’s better” than I could have hoped for “Take it from me!!” 🎶

The theatre was almost full for opening night and the audience was pumped to see this classic childhood nostalgic show. It was one of the most interactive and responsive audiences I have witnessed in some time which is a credit to the marvellous production PACA have produced.

I was so excited to discover the live orchestra was warming up when I walked into the theatre early. A live orchestra always elevates a show in my eyes and they delivered a fabulous performance bringing authenticity to this well known wonderful musical score.

It was pleasant to read in the director’s notes the incredible effort they had gone into utilising as many recycled items as possible for the staging in their commitment to sustainability. The staging and props were impressive and cleverly designed to create illusions for each scene. I was particularly impressed with the ‘ship at sea’ set and Ursula’s lair.

They also utilised projected images to create three-dimensional depth, which was especially effective for the ocean and inside the castle. The fly lines were put to fantastic use in creating effective multi-dimensions for the sea depth and a great visual ‘wow factor.’ The lighting techniques were also spectacular in creating green seaweed, effective lightning strikes, and the majestic illusion of sunshine.

Costumes were authentic to the Disney characters and imaginative. I had previously wondered how they would portray the characters of crabs, birds and fish and I loved their creative interpretation for bringing these characters to life.

If I had to pick three favourite music numbers- I couldn’t. I loved them all! My top favourites would be Sebastian’s “Under The Sea” with its full of life music and dance, Ursula’s “Poor Unfortunate Souls” with Jordan Berry’s powerhouse stellar vocals and then there was “Kiss The Girl” with absolutely beautiful choreography, lighting and staging. But I think perhaps my favourite (very hard decision) has to be “Positoovity” by the incredible tap dancing Scuttle (Alexander Billet) and the tap dancing ensemble. This was the opening song in the second act and the choreography and skill of all these dancers was sensational. The way Alexander Billet animated Scuttle the seagull was truly remarkable.

Faith Sherwood played Ariel as a true Disney princess. Her unwavering beautiful Disney smile and wonderful sweet vocals gave a commendable rendition. Her co-star Cameron Mayhew who played Prince Eric also gave a fantastic performance with a natural at ease flair on stage.

Andrew Read as Sebastian brought the house down. Sebastian gave plenty of comedic light and a charismatic performance and was absolutely adored by the audience.

Ursula (one of my favourite characters) was sensational. Jordan Berry’s vocals and acting are truly professional and I will definitely be looking out for her in future productions.

Jemima as Flounder blew me away with her superb vocals as did Simon Buchner who played King Triton. He has a most inviting smooth rich tone and great resonance.

Although not technically a lead role, Chef Louis, played by Mercurius Yousif, definitely deserves a special mention. He absolutely brought the house down with outstanding acclaim for his comedic scene. He has a wonderful stage presence and personality accompanied by fabulous vocals and I hope to see more of him.

The ensemble was brilliant! Their dancing and vocal harmonies tied the show together and illuminated it to greater heights. Their steadfast enthusiasm and energy throughout every scene was commendable.

My only criticism of the production would be it’s not playing long enough for me to watch it again. Nine days simply isn’t long enough for all the creative talent and obvious hard work that has gone into this wonderful production. I admit it is honestly up there with my very favourite musicals and I would love to see it again! Do yourself a favour and if there’s any tickets left, go and have a fabulous night out watching some outstanding talent.

To book tickets to The Little Mermaid , please visit https://paca.sydney/the-little-mermaid/.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Cherelle

Love: A Tour De Force Of Pain And Tenderness

21 March 202520 March 2025 Isobel Knight

Love Rating

★★★★★

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LOVE is a tough and beautiful play about the fragility of people in tough circumstances trying their best to both survive and care for each other. The play itself is extraordinary, with Patricia Cornelius’s dialogue feeling so real that there are moments it almost feels like an intrusion to be listening to these characters having these conversations. The best of theatre opens doors for empathy, and this production achieves this, without preaching and without voyeurism around the characters’ suffering. This production closes at the end of this week and is exemplary.

In New Ghosts Theatre Company’s production, playing at the Old Fitz Theatre until the 21st of March, there is a solid, unmoving square setpiece with multiple stepped levels, one being a double bed, all in asphalt grey, taking up most of the stage. This stark and simple set is brought to life, and illustrates the power dynamics in constant flux between the three central characters. There are several moments where the audience held their breath, several big laughs – this show is enthralling, and moves at the pace of relational change, which ranges from tooth-pulling slowness and lightning pace. Director Megan Sampson has done a fantastic job in drawing first-class performances out of a talented cast and in building a window into a world that is both poetic and raw.

Georgia-Paige Theodos is a revelation as Tanya, the tough, butch lover who we first meet when she and Annie are in prison together. Tanya’s opening monologue about when she knew she loved Annie grounds the rest of the show. More than chemistry, the cast draws us into the strange, chaotic connection that these three characters have; the kinship of addicts, the warmth that love charges people with, the protective intensity of people committed to surviving the odds. Everyone in the show is in danger of getting hurt, and has been hurt already; the threat of pain is ever-present.

Rhys Johnson does an excellent job at imbuing Lenny, a character who could have been a caricature-ish villain, with so much humanity and humour. Through Lenny’s explanation of how love has moved him in ways nothing else has, the selfishness mixed with genuine emotion is moving and challenging. Producer and actor Izzy Williams is transporting as Annie, and the explorations the show does of gender, and the particular dangers for femmes in a violent world are prodded, particularly through her performance, with a raw and painful hopefulness. Her moments alone onstage are some of the most transcendent in the show.

One of the strongest threads of this production is how we are drawn to hope with these characters; despite the dead-end quality of their circumstances and paltriness of the tools they have to face them with, when they speak of the future it’s with this energy and drive that has us rooting for them. The blatant refusal, voiced by Tanya in the play, to be pitied, is both a mantra and challenge to the audience.

Sex work, drug use, and the difficulties of life post-incarceration are central to the play, and by dealing with them with honesty and humanity, each of the characters is shown to be a whole human being, not just a stereotype of people living alongside these things. This production does an excellent job of underscoring how deeply people from all walks of life want to be both cared for and needed, and the moments of disintegration into violence and struggle are all the more heartbreaking for it. LOVE is a show (and a force in our lives) that is worth the wrestle and pain it entails.

To book tickets to Love, please visit https://www.oldfitztheatre.com.au/love.

Photographer: Patrick Phillips

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Isobel Knight

No Love Songs: Poignant And Impactful

20 March 2025 Cherelle

No Love Songs Rating

★★★★★

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“No Love Songs” was my first visit to the newly opened Foundry Theatre located inside The Star Casino’s glamorous building. The quaint size and layout of the theatre creates an immersive and intimate experience for the audience and I look forward to spectating many more shows in this fabulous new venue. The acoustics and viewing would be fantastic from any seat in the theatre which makes it, in my opinion, a very inviting theatre.

The “No Love Songs” musical is based on the book written by Laura Wilde and Johnny McKnight which was inspired by real-life experiences of Kyle Falconer and his partner Laura Wilde. The featured songs are written by the musician Kyle Falconer.

The musical stars the incredible Keegan Joyce and Lucy Maunder and is co-directed by Andrew Panton and Tashi Gore. Music direction is expertly provided by Mark Chamberlain.

“No Love Songs” is a harmonious Yin and Yang balance of grief and joy, sublimely written to strike the audience with the juxtaposition of tears and laughter. The script is superbly written with natural flowing dialogue and a generous sprinkle of witty comedic gags, all of which were delivered impeccably by the stars Lucy Maunder and Keegan Joyce.

The script delves deeply into themes of depression, loneliness and relationships. It highlights the importance of bringing light to the hardships of parenting and in particular post natal depression. Shedding light on these ‘once unspoken’ topics, yet still not spoken enough about, is vital for urging more conversations, actions and reassurance.

The writer has truly achieved a very natural realistic depiction of struggling young parents in their personal relationship together and with their child. I’m certain most can relate to the struggles couples face: keeping in combined rhythm, picking up the missed beats for each other and being cautious not to drop the drumsticks altogether into a fathomless pit of no return.

It was a stellar performance by Lucy Maunder and Keegan Joyce, two immensely talented industry professionals. The acting diversity of both is applaudable and easy to understand their great successes to date and undoubtedly in the future. They delivered unfaltering honest character portrayals coupled with brilliant vocals and musicianship. Neither could be faulted in their brilliant hard hitting performance. Their casting was a commendable choice and they admirably portrayed a convincing real-life couple.

Staging, costumes and props were minimal which felt authentic to the script. Unnecessary props and elaborate staging would have likely depreciated the poignant impactful themes. The music may not leave you singing as you leave the theatre or asking Google to play the soundtrack but I don’t feel like that was the intention. The obvious intentions of the “No Love Songs” musical is to be conversation striking, thought provoking and impactful and these intentions are mastered to perfection.

No Love Songs is on tour around the country. For date/time sessions for your local area and to book tickets to No Love Songs, please visit https://www.nolovesongs.com.au/.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Cherelle

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