A Not-To-Be-Missed Storytelling And Music Extravaganza!

Amplified: The Exquisite Rock and Rage of Chrissy Amphlett

Amplified: The Exquisite Rock and Rage of Chrissy Amphlett Rating

Click if you liked this article

Amplified at Belvoir St is Sheridan Harbridge’s exhilarating homage to legendary Australian rock icon and Divinyls frontwoman, Chrissy Amphlett. Written and performed by Harbridge (Prima Facie), directed by the award-winning Sarah Goodes (The Weekend) with musical direction by Glenn Moorhouse (Hedwig and the Angry Inch), Amplified enters the annals of Australian music historiography.

Part biography, part autobiography, part cabaret, part live concert, part tribute, Amplified is electrifying from the moment the band takes their places and Harbridge enters from the audience wearing knee length boots, a black leather mini skirt and a black trench adorned with silver glitter. She immediately owns the stage.

The show opens with Harbridge asking the audience to tap into their own experiences of seeing school-tunic wearing Chrissy on stage. The band then comes in with ‘I’ll Make you Happy’ and the audience responds. Cheers and applause fill the theatre and the energy is palpable. It’s a terrific and uplifting rendition.

Harbridge doesn’t try to imitate the unique and sublimely defiant Chrissy Amphlett, rather she uses music and stories told by Amphlett herself, and those who knew her, to keep the memories alive and, in doing so, evokes a sense of immortality surrounding the singer.

 

 

Amplified tells of Amphlett’s childhood in Geelong and of the circumstances that moulded her into the fierce, feminist, rebellious frontwoman she became.

To those who saw Divinyls on stage in their ‘80s and ‘90s heyday, the experience was unforgettable. Amphlett was unapologetically brash, raucous, overtly sexual and subversive, upending the then Australian music industry dominance of male lead singers. Harbridge showcases Amphlett’s bold stage persona, explores her vulnerabilities, and delves into her long and complicated relationship with Mark McEntee, the band’s co-founder.

This reviewer went to many Divinyls gigs and remembers one in particular at Caringbah Inn in the early 1980s where Amphlett spat on her, which felt like a badge of honour at the time. One never knew what Chrissy might do next!

Like Chrissy, Harbridge teases the audience, but, unlike Chrissy, does so in an unthreatening manner. She takes an unwitting patron’s handbag and empties it on stage; she interacts with the audience, bringing to life the icon’s bad girl persona in all its hilarious brilliance. This is definitely not a production for children.

The stage is backlit by blue lighting with several spotlights centred on Harbridge. The floor seems to be etched in silver swirls and circles emanating around the mic stand like a galaxy of stars, which evokes, in this viewer, the chaos and frenetic energy of Amphlett standing at the centre of her universe.

The four-piece band comprises accomplished musicians Glenn Moorhouse, Ben Cripps, Dave Hatch, and Clarabell Limonta. Their polished execution of songs and divine back-up vocals elevate Harbridge’s storytelling. Harbridge’s vocal range is impressive: from the guttural to falsetto, she doesn’t miss a beat. She uses a recurring motif to tease the audience, which I won’t reveal, have them wanting more and it works to great effect. The background music to Harbridge’s narration is low-key but performative to the story. The tempo walks with each particular narrative then explodes into song.

Sheridan Harbridge is an actor and writer of extraordinary talent. Her comedic timing and ad-libbed moments are things to behold. With Goodes and Moorhouse as collaborators, she has created a wonderful production that surely tugs the nostalgic heartstrings of theatre-goers across Australia.

To book tickets to Amplified: The Exquisite Rock and Rage of Chrissy Amphlett , please visit https://belvoir.com.au/productions/amplified/.

Photographer: Brett Boardman

Spread the word on your favourite platform!

Absolute Trash

Absolute Trash

Absolute Trash Rating

Click if you liked this article

3

Bawdy, bendy and bootylicious.

Glitter Martini have brought Absolute Trash down from the Gold Coast for a short run at the Sydney Fringe, following sparkly five-star reviews at the Adelaide Fringe.

We live in a world surrounded by trash. Bin juice, trash pandas, floating garbage islands, and the toxic waste dump that passes for social media. When was the last time you said that your life is a dumpster fire? (Confession: last Wednesday for me.)

Absolute Trash gleefully up-cycles our garbage mountain planet with eye-popping circus, wacky comedy and bawdy cabaret.

It’s nice the get the word bawdy out of the house. It’s usually stuck at home doing debauched crochet while the sexier words like saucy and spicy get invited out to play.

If you want to, you can take it easy, sit back and watch, but part of the joy of a Glitter Martini show is their love of playing with their audience. You are invited to share your trashiest stories by text at the start of the show.

Director and performer, Darcie Rae, loves creating a real feeling of connection between the audience and performers. She has fashioned a joyous audience-driven, interactive experience that uses comedy to disarm you as it seductively draws you into the show.

 

 

Natrasha Binit, the Duchess of Debauchery, the Queen of Trash, is your incomparable compère for the night. They’re taller than Sesame Street’s Oscar the Grouch but they share his love of trash and trashy things, with a green plastic wig and a Chanel little black bin bag dress.

Trent Charles, as Natrasha, is the beautiful mutant lovechild of Cara Delevingne and a Monster High doll. You know, in a good way.

Tangly contortionist Bendy Elle spends the show upside down, in the air, inside out and tied up in knots. While smiling impishly.

It’s not every night that nimble and sculpted aerial artists like Miss Amy May and Darcie Rae take to hoops and trapeze, sharing a stage with puppet bin chickens.

I will go to my grave remembering the look of sheer disbelief on an audience member’s guide dog’s face as it stared up at two puppet bin chickens dancing, with squeaky rubber chickens, to Burt Bacharach, ably puppeteered by Charlie Love in platform PVC boots.

That is a sentence I never thought I’d write. And the rubber chicken can-can is a weird, wild and wonderful thing that you need to experience in the flesh.

Absolute Trash ticks all your sustainable boxes in a consensual way you weren’t expecting.

Glitter Martini’s Absolute Trash is part of the Sydney Fringe, playing at Fool’s Paradise, The Bunker, Entertainment Quarter until 21 September

To book tickets to Absolute Trash, please visit https://sydneyfringe.com/events/absolute-trash/.

Photographer: Josephine Carter, Taylor Scott

Spread the word on your favourite platform!

Pursuing Pleasure

Pursuing Pleasure

Pursuing Pleasure Rating

Click if you liked this article

1

“Pleasure” is a concept humanity has pursued, defined, and debated for millennia—from Early Greek philosophers musings to Freud’s theories, from ancient Chinese philosophy to Egyptian mysticism.

In her deeply personal and compelling one-woman show, Pursuing Pleasure, opera singer Piera Dennerstein steps into this lineage of inquiry, offering her own story as both case study and celebration. Through an eclectic mix of musical selections—from Puccini to Cardi B—Dennerstein examines the rigid structures of her profession, the silencing of her voice, and the hard-won rediscovery of her personal joy.

The moment the audience enters the small, intimate theatre, they’re immersed in a world that feels equal parts boudoir and dreamscape. Soft pink lighting bathes the space; feathered chairs and velvet accents suggest sensuality and softness. A lone piano waits like a co-conspirator in the corner. The atmosphere is one of warmth and openness, setting the tone for the confessional yet theatrical journey ahead.

Dennerstein makes her entrance like a vision: glamorous, confident, and possessed of a voice that commands immediate attention. She opens with an aria from Carmen, a dramatic choice that immediately showcases her operatic prowess and establishes her as a powerful stage presence. Her voice—a heavy soprano—fills the room with depth and resonance, but it’s her storytelling that truly pulls us in.

 

 

As she begins to speak, Dennerstein draws back the velvet curtain on the world of opera, revealing a system that to outsiders can feel like an elegant but arcane secret society. With sharp wit and heartbreaking clarity, she explains how singers are typecast according to vocal “fach”—a system of classification that determines what roles a singer can audition for. It’s a rigid framework that values tradition above individuality, and Dennerstein invites us to see how such a system is also a gatekeeper of artistic expression. In this world, a single note sung incorrectly can mean losing a role; personal taste, emotional connection, or daring interpretation are often secondary to the mechanics of tone and volume.

Dennerstein’s own experience as a dramatic soprano—destined to sing the tragic, the regal, the doomed—becomes a metaphor for confinement. When she delivers a searing excerpt from Wagner, it’s clear she inhabits these roles with mastery. But when she speaks of her desire to sing something joyful, light, or flirtatious—and how the opera world deems these pleasures off-limits for her voice—we see the emotional cost of that confinement.

In the show’s second half, she shifts from analysis to revelation, sharing stories of rejection, emotional abuse, and the slow, courageous return to herself. Through pop music, humor, and fierce vulnerability, Dennerstein stages a rebellion against the rules she was trained to follow.

Pleasure is more than a performance—it’s a quiet revolution. In just an hour, we witness an artist stepping out of the roles the world assigned her and into the one she’s written for herself. By the end, Piera Dennerstein doesn’t just sing—she reclaims her voice. And that, in every sense, is a pleasure.

To book tickets to Pursuing Pleasure, please visit https://www.oldfitztheatre.com.au/pursuing-pleasure.

Photographer: Olivia Charalambous

Spread the word on your favourite platform!

Sugar Might Be Addictive…

Sugar

Sugar Rating

Click if you liked this article

2

Wow! What a yummy treat this cabaret was. I ate it up and didn’t want it to end! Tomàš Kantor sucked us into the story from the get-go with clever use of current pop bangers that we all know, and love. From Chappell Roan to Gaga, the Sugababes and TikTok hits, the music always encapsulated the story in an interesting and unique way. The rollercoaster of emotions throughout was relatable and we were rooting for the very lovable Tomàš as Sugar. Honestly, in this economy, who hasn’t contemplated taking the “easy way out” and becoming a sex worker after watching Pretty Woman. Especially easy to relate to if you’ve ever been a struggling uni student living in a share house.

Tomàš performance of this (as far as I can tell), true story, was powerful, fun and playful. I loved the use of the poppiest of songs arranged in a cabaret format. I died when Prada played. They gave us clever costume, prop and set use, great vocals, dance breaks and played multiple instruments. What a multi-talented and intelligent performer! The characters were all interesting, well-defined and had a point of view. The story was clear. I feel as if this is a show you could see many times and notice new clever intricacies each time. Tomàš and Bullet Heart Club (Ro Bright – show writer & Kitan Petkovski – director) deserve high praise for this!

 

 

Don’t be distracted by the sparkles though. Not only was it funny, but there were poignant moments as well. These included some insight into why sex work is often not “easy money.” This is a job which requires incredible sacrifice of self and often places the worker into perilous personal situations where they have no power or recourse for wrongs committed. This window into sugar-babying throws light on some inherent class divides and the power imbalance of these transactional relationships. There was subtle commentary on internalised queerphobia too, and I had goosebumps when they started singing the last song.

The show included considerable (optional) audience participation and use of house lights which made for a very immersive theatre experience. This hooked us in for the ride and made us laugh. Word of warning, if you are uncomfortable with descriptions or portrayals of sex on stage this is maybe not the show for you. However, those who are down, you are in for a thrilling collective release. I was unsure how the audience would react at the Hayes, but they loved it! Tomàš is so charismatic and charming that we feel as if we are a friend getting the tea.

Ultimately, such a fun journey, I laughed and sympathised with Sugar. I would heartily recommend going to see Sugar if you get the chance. This debut cabaret has already won multiple awards, and rightly so, Tomàš is a talent to watch. Look out Edinburgh…

To book tickets to Sugar, please visit http://hayestheatre.com.au/event/sugar/.

Photographer: James Reiser

Spread the word on your favourite platform!