Sydney Musical - Whats The Show

Holiday Inn – A Holly Jolly Christmas Classic

12/12/2025 Cherelle Flemming🥈

Irving Berlin’s Holiday Inn Rating

★★★★★

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The Holiday Inn at Riverside Theatres Parramatta is a must-add to your Christmas schedule. Irving Berlin’s Holiday Inn, a Christmas classic will drift you into the magical Christmas season and inject you with festive cheer. If you’re not yet into the swing of the Christmas festivities, this spectacular musical will surely heighten your Christmas spirit.

The director Sally Dashwood has created a fabulous adaptation of the 1942 American musical beautifully capturing its warmth and charm. Dylan Pollard, as Music Director, sensationally delivered the fabulous musical score written by Irving Berlin along with the cast of seasoned professional singers and musicians. The show is fueled with many of Berlin’s well-known jazzy showstopping numbers such as “Blue Skies” and features the heartwarming Christmas carol we all know and love —”White Christmas.”

The choreography by Veronica Beattie George was a highlight throughout. The jazzy score leant itself to incorporating plenty of fabulous tap routines and partner dancing. The small ensemble of five gifted performers worked tirelessly to enhance and elevate the show. They executed the choreography with the greatest of talent and finesse, showcasing intricate tapping sequences, partner lifts and turns, and dazzling tricks. Their high energy and enthusiasm never faltered and they illuminated the stage from the moment the show began.

The leading character, Jim Hardy was delivered by Rob Mallet. His vocals were outstanding and I thoroughly enjoyed his rendition of Blue Skies and White Christmas which are two of my all-time favourites. The leading lady, Linda Mason, was played by Mary McCorry. McCorry’s performance was mesmerising; she not only stunned the audience with her angelic vocals but harnessed her 1940s Hollywood character with utmost conviction. Also at the side of Jim Hardy, and the somewhat ‘gelling agent’ between characters, was Louise Badger. This amusing character was presented by Paige Fallu. Fallu was utterly engaging and skillfully comedic; she held the audience in the palm of her hand.

The larger-than-life diva, Lila Dixon, was played by Paloma Renouf. Renouf injected heart and energy into this sassy role and she delivered a captivating performance alongside her fabulously talented dance partner, Ted Hanover, presented by Max Patterson. Patterson was absolutely electric on the stage. His dancing, predominantly tap, was utterly superb and he oozed pizzazz and stage charisma.

As beautifully quoted in Holiday Inn, “Now and then it’s good to pause in our pursuit of happiness and just be happy.” And so I urge you to rally your friends and family and take a pause to relish in the splendour of The Holiday Inn and – be happy! Don’t miss out on this heartfelt, holly-jolly classic musical.

To book tickets to Irving Berlin’s Holiday Inn, please visit https://riversideparramatta.com.au/whats-on/irving-berlins-holiday-inn/.

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Carrie: The Musical – Out Of The Shadows

27/11/202527/11/2025 Linda Lokhee🏆🥇🦉

Carrie: The Musical Rating

★★★★★

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Once you have been through “the high school” experience, your nostalgic memories may be one of joy and laughter. Others may remember things differently. Very differently. Carrie White and Sue Snell are two such characters. At school, Carrie (Kayla Stevenson) experiences extreme bullying and continuous group harassment. She’s taunted relentlessly and humiliated by a group of kids, led by the vicious classmate and influential ringleader Chris (Jordan Miller). Sue (Emily McKenzie), Chris’ best friend, begins to realise the emotionally damaging effect that Carrie is experiencing from the groups’ cruelty. She begins to reflect on how to help Carrie regain her self-confidence, enlisting her boyfriend Tommy (Harry Moorby) in an idea to show Carrie a little kindness. Events lead to a shocking conclusion.

Carrie’s homelife is not a happy one. Over the meal table, her overprotective mother Margaret (Felicity Amos) shows intense religious fervour, smothering Carrie in lectures about her reverent devotions and how her daughter should behave. Felicity’s performance showing Margaret’s destructive fanaticism was outstanding. Her singing and stage presence where she is towering over Carrie, both physically and with her words, were so intense that I was feeling how Carrie would have been feeling – terrified!

Kayla delivered a captivating performance of Carrie, subtly changing from someone unsure and beaten, to a strong, angry girl who realises her telekinetic powers and her potential to fight back, with devastating consequences. Her opening song, “Carrie” mesmerised me, with many different tempos and styles showcasing her versality.

Jordan’s powerful portrayal of the cruel Chris was convincing; her singing and mocking attitude while ridiculing Carrie effectively revealed Chris’ scheming nature. Emily’s character Sue was at the opposite end of the spectrum. In a world where teenage followers typically conform without question, Emily’s depiction of her character’s self-awareness and decision to break away from her friends felt genuine.

Co-Directors John Hanna and Blake Williams have put together a well-crafted musical. The production team included the musical director Lindsay Kaul, and costume designer Katie Griffiths (the 1970’s clothing was funky – especially the prom tuxedos, shirt front frills and all!) I was impressed with the sound design (Kieran Vella) particularly at the musical’s introduction with the foreshadowing of the crackling fire, and use of lighting throughout the show (LKR Productions and Blake Williams) which added dramatic elements effectively. Although the use of props was minimal, Blackout Theatre Company’s use of projection (Adam Ring) on the back wall to set the scenes was effective, showing the audience without the need for revolving floors and detailed physical backdrops where everything took place.

“Carrie the Musical” is not a typical ‘feelgood show’; there are no dancing in the aisles at the curtain call and no happy endings where the hero/heroine triumphs. Although I had neither read the original novel nor seen a performance of this musical before, I knew the premise of the story. As a fan of musical theatre, I was unsure of how a horror novel could be successfully adapted into this genre. However, I was impressed by the cast and ensemble’s storytelling which, through the music (Michael Gore), lyrics (Dean Pitchford) and expert choreography by Jane Houlihan, delivered a powerful and thought-provoking experience. Kudos to the seven-person live band which made the musical so much more brighter in sound, than a pre-recorded backing ever could.

This production effectively showcased the horror of abuse and highlighted the importance of kindness and empathy. This is as relevant today in high school and life, as it was fifty or so years ago when Stephen King’s novel was first published.

The Blackout Theatre Company’s production of “Carrie the Musical” plays for three days at the Pioneer Theatre, and it seems a shame that it’s only running for a such a short run. The effort invested to create this captivating musical makes it clear that it deserves an extended season – in Carrie’s words, “…this might be the start of my journey, out of the shadows, and into the light!”

Theatre: Pioneer Theatre 12-14 Pennant St, Castle Hill
Dates: 21- 23 November 2025
Time: 2 hours, with interval
Tickets: www.pioneertheatre.com.au/whats-on/carrie-the-musical

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

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The Ride Of Your Life!

12/11/2025 Claire Mulcahy🥉

Ride the Cyclone Rating

★★★★★

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If you blended the dark wit of Heathers with the existential charm of The 25th Annual Putnam County Spelling Bee, you might come close to capturing the wild, weird brilliance of Ride the Cyclone, Sydney Musical Theatre’s latest production. This cult-favorite musical, written by Brooke Maxwell and Jacob Richmond, spins a tale that’s equal parts carnival nightmare, teen talent show, and philosophical meditation on what it means to live.

The premise is audaciously simple: six teenagers from the St. Cassian Chamber Choir die in a freak roller coaster accident. Now, trapped in a limbo-like carnival, they are offered one miraculous chance, by the mechanical fortune-teller Karnak, to sing their stories, and for one of them, to return to life. What unfolds is a haunting, hilarious, and unexpectedly moving journey through identity, regret, and the fragile beauty of being human.

Each number is a genre-hopping revelation. Ocean O’Connell Rosenberg’s biting self-importance (What the World Needs) crackles with manic energy, while Mischa Bachinski’s hard-edged rap ballad (This Song Is Awesome) hides a tender heart beneath its bravado. Jane Doe’s ethereal lament (The Ballad of Jane Doe) stops the show cold; a ghostly aria of lost memory that would feel at home in Phantom of the Opera’s darkest corners. And then there’s Constance Blackwood’s tearfully exuberant Sugarcloud, which blossoms into the musical’s emotional core: a celebration of joy reclaimed after despair.

Certainly a highlight of this production is the impeccable singing of the cast. Amira Clark as Ocean and Raven Swinkels as Jane Doe are absolute vocal standouts. Kielle Murillo as Constance and Xion Jarvis as Mischa display excellent comedic skills. Andrew Read and Lex Sywenkyj have the audience in stitches during their moments on stage.

The staging is a visual feast of carnival lights, decaying grandeur, and eerie automaton choreography. The ensemble choreographed by Elise Simpson works like a finely tuned ride mechanism: precise, kinetic, and emotionally fearless. Director Ssarah Shanahan has embraced the absurdity of the musical without losing the show’s heart, letting the humour sharpen rather than undercut the poignancy of the thematic concerns.

By the final reprise, Ride the Cyclone well and truly had the audience in its spell. It’s a production that dares to find joy in tragedy, laughter in death, and life in limbo. Beneath the spectacle lies a message that lingers: we are all, for better or worse, passengers on the same unpredictable ride.

To book tickets to Ride the Cyclone, please visit https://www.sydneymusicaltheatre.com.au/.

Photographer: Althaia Frost

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A Masterpiece of Music and Theatre: The Hunchback of Notre Dame

10/11/202509/11/2025 Cherelle Flemming🥈

The Hunchback Of Notre Dame Rating

★★★★★

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The Hunchback Of Notre Dame Musical is now one of my all-time favourite musicals thanks to The Hills Musical Theatre Company. I absolutely loved this powerful production, held at Model Farms High School Auditorium in Baulkham Hills, and thoroughly enjoyed the laid-back cabaret seating with BYO drinks and snacks. Luke Derrick has executed outstanding direction in this fabulous musical, ably assisted by Hannah Aouchan, Assistant Director, along with superb musical direction by Peter Thornton and Gabrielle Lanham. The entire orchestra needs a special mention for animating this magnificent musical score with impeccable professionalism. The music is all-encompassing and written to tingle every nerve and fibre in your body. Notably, a very challenging score, but The Hills Musical Theatre Company triumphed in every aspect.

The absolute shining star, Quasimodo, was played by the brilliant Andrew Schwimmer. Schwimmer blew me away with his one-of-a-kind vocals and held me captive throughout his incredible performance. Schwimmer’s performance was a delight to behold and I don’t believe a better Quasimodo could be found worldwide. The star leading lady, Aya Adel, was resplendent in her role as Esmerelda. She was reminiscent of a Disney Princess. I found her performance thoroughly engaging and sincere. Wonderful singing, fabulous dance movement, and Adel showed strong conviction to her boldly defiant character.

Dom Claude Frollo was presented by Simon Buchner, who oozed this villainous character with the greatest of sincerity. Buchner’s dedication to his challenging character was steadfast and believable. In contrast, there was the heroic, earnest, and charismatic Captain Phoebus De Martin, who was played by Lenard Chang. Chang conveyed a splendid rendition of his role, charming the audience throughout the show.

The leader of the Gypsies, Clopin Trouillefou, is brought to life by James Waters. Waters injected fathomless spirit and energy into this complex, multifaceted role and delivered a polished and engaging performance.

The enormous ensemble and choir were absolutely brilliant. From start to finish, they exuberated enthusiasm and steadfast dedication. Their harmonies sounded fittingly ethereal and lines were delivered with clear enunciation. The choreography for the ensemble was executed with neat precision and their commitment was unwavering. The choreography by Emily Taylor was perfectly appropriate—simple and impactful, utilising resonating repetition that beautifully enhanced poignant moments.

The Hunchback Of Notre Dame Musical encompasses a stellar professional cast and is definitely one you don’t want to miss. The musical score is phenomenal and the story is as powerful today as ever. Seriously, this production leaves the Disney rendition for dead. Do not miss your chance to see this fabulous performance by The Hills Musical Theatre Company.

To book tickets to The Hunchback Of Notre Dame , please visit https://hmtc.sales.ticketsearch.com/sales/salesevent/153157.

Photographer: Grant Leslie Photography

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