Sydney Musical - Whats The Show

No Day Like Today to See Rent: The Musical

02/10/2025 Linda Lokhee🏆🥇🦉

Rent Rating

★★★★★

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A legendary rock opera is coming to the Joan Sutherland Theatre at the Sydney Opera House, ready to electrify the audience. Opening on September 30, 2025, Rent the Musical will run for one month and showcases an exceptionally talented cast portraying a group of young, struggling artists living in Manhattan’s Alphabet City in the East Village.

Set in the early 1992, composer and lyricist Jonathan Larson’s retelling of Puccini’s La Boheme explores battles with poverty and gentrification, love, addiction and the fear and impact of the AIDS epidemic. Yet amongst all of the hardships in their lives, this is ultimately a musical about hope, strength and passion. This group of characters discover the importance of connection and community, living in the moment (“No Day Like Today”) and to measure life in love (“Seasons of Love”).

Larson left a lasting legacy by openly featuring love themes between two gay couples and a duet between queer characters on a Broadway stage when the show first premiered in 1996. This milestone in queer representation in musicals deeply resonated with audiences.

With themes such as the hardships of trying to make ends meet, as well as the coming together of friends when it’s most needed, director Shaun Rennie says, “this show, like what Jesus Christ Superstar was in the 70s and what Hamilton was for that generation, Rent really is a show that spoke directly to the youthful MTV generation.” Now, a new generation of people will fall in love with Rent The Musical.

Larson wrote the book and subsequent multi-Tony Award and Pulitzer Prize winning musical for his friends but tragically passed away unexpectedly aged 36 from an aneurysm on the eve of his off-Broadway premiere. Despite this, the musical was performed the following night in his honour. Rennie, along with the cast, ensemble and crew, say that they continue to pay tribute to Larson nightly throughout this Sydney production.

Rennie has assembled an experienced and talented cast, all of whom have come from musical greats such as Jesus Christ Superstar (Tana Laga’aia, Calista Nelmes, Henry Rollo), & Juliet (Jesse Dutlow) and Hadestown (Imani Williams) Tina Turner (Kristin Paulse), Dear Evan Hansen (Harry Targett) and Hamilton (Googoorewon Knox). They all have strong voices that are needed for belting out some of Rent’s rock opera songs.

For the preview media call attended today, I got a small glimpse into Rent and I can see that it will be an eye opening full production. The staging is detailed, with revolving movements and the backdrop of typical NYC apartments flanked by the metal criss cross jigsaw of fire escapes. The lighting by Paul Jackson is moody and atmospheric. The moment the first note is played with the opening song, the ensemble moves together as one. They are all dynamic! The musical arrangements by Steve Skinner and the choreography by Bree Tipoki are beautifully fluid. It is a large ensemble and there are so many moving characters singing and dancing, all with perfect sharp dance angles and flashes of energy. For anyone who has never seen Rent before, or for fans who know that “525,600 minutes … a year in the life of friends”, this is going to be one fantastic musical not to be missed this Spring inside the Sydney Opera House.

Season run: September 30 – November 1 2025
Run Time: 2 hours and 35 minutes including interval
Tickets: www.opera.org.au/productions/rent-sydney

To book tickets to Rent, please visit https://opera.org.au/productions/rent-sydney/.

Photographer: Neil Bennett

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Toe Tap and Sing – Side by Side by Sondheim

28/09/2025 Linda Lokhee🏆🥇🦉

Side By Side By Sondheim Rating

★★★★★

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Genesian Theatre Company’s “Side by Side by Sondheim” showcased music from one of the most influential minds of musical theatre, Stephen Sondheim. He had a gift of creating distinct characters, via his witty wordplay and catchy music and drawing you in their world. This was a toe-tapping and energetic evening of musical theatre celebration.

From their opening number “Comedy Tonight” (from “A Funny Thing Happened on the Way to the Forum” 1962), until the closing song, “Side by Side by Side” (from “Company” 1970), I was reminded of the golden age of music in movies and musicals; a period when soundtracks were filled with memorable, timeless songs that really captured the emotions and stories on stage. I was transported back to that era by watching and listening to the outstanding performances of the Genesian Theatre cast. Martin Hong was one of the featured soloists and his steady, smooth voice, easy-going mannerisms and smile portrayed a boyish crooner charm akin to Cary Grant. One of the highlights of the evening for me was his beautifully emotive performance of Losing My Mind (from “Follies”1971).

Director Declan Moore and Music Director Ben Fan created a strong sense of nostalgia on stage, a complete evening where patrons were surrounded by the sounds and styles that defined a special period in musical history. The included songs by Sondheim were in the form of a revue, a collection of songs from 1957 and spanning the next two decades, rather than a performance of one of this musicals with characters and a plot. As a result, the talented featured soloists were able to showcase their expertise in becoming several vastly different characters, often flipping from one character to another quickly.

An example of this is when Sarah Dolan brought us into the mind of an acutely panic stricken bride-to-be with her auctioneer-like, expert mile-a-minute performance in the song Getting Married Today (from “Company”). This harried performance contrasted with her gentle rendition of Little Lamb (from “Gypsy” 1959), where her character Louise is a young girl, singing a lonely song to her plush toys on her birthday.

Kimberly Yuzon had an impressive vocal range, showcasing control and versatility. Her clear and expressive voice allowed her to convey the emotive tone of the songs to the audience. One of my favourite songs was her rendition of Send in the Clowns (from “A Little Night Music”1973) which was performed with heartfelt emotion.

Elizabeth MacGregor was equally at ease on stage, showcasing a truly beautiful voice. Alongside her solo performances, she sang with harmonious clarity alongside her fellow cast members. Her flawlessly precise and tongue-twisting rendition of “The Boy From…” (from “The Mad Show” 1966) was unforgettable and had the audience laughing. It was remarkable how she managed to keep a straight face while delivering the chorus of this lyrically challenging song!

It was a joy to see the pianist, Lindsay Partridge accompanying the actors visible on-stage for the whole of the show, instead of being in the pit below the stage or behind a curtain. He performed each song flawlessly with heart, his deft fingers no doubt flying with expertise across the keys.

Barry Neilson played the Narrator, who introduced each song and gave the audience some background information on the origins of the song. Barry played different roles, and his expressions on stage were notable and amusing. Being a revue, there were many songs which involved the cast to sing together. It was a joy to watch their interactions with each other and they appeared to be having a lot of fun.

Catherine McKinnon’s costume design for the 5 cast members and pianist Lindsay Partridge had a red and black theme, a clever choice of duo simplicity as the glitz and sparkle of sequins shone like diamonds under the lights. The bright globes, and silver dropped curtains that lit up the stage was a nice touch reminiscent of those glamorous Hollywood times of the past, a fitting view from co-lighting designers Michael Schell and Cian Byrne.

The Genesian Theatre Company has crafted an experience that is not only entertaining but also a profoundly meaningful tribute to Mr Sondheim. If it were possible, I would recommend hosting a special evening where the audience could attend dressed in tuxedos and dazzling sequinned, sparkling gowns—it would be the perfect complement to this extraordinary show!

Side By Side By Sondheim is playing at The Genesian Theatre, 2b Gordon St, Rozelle.
Season: 26 September – 1 November 2025

Tickets can be purchased via the following link:
www.genesiantheatre.com.au/events/side-by-side-by-sondheim

To book tickets to Side By Side By Sondheim, please visit https://genesiantheatre.com.au/events/side-by-side-by-sondheim/.

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Menopause: The Musical

23/09/2025 Melissa Marsh🥉

Menopause The Musical Rating

★★★★★

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Menopause the Musical has been packing theatres around the world for more than two decades, and its Sydney season shows why. Built as a one-hour revue without interval, the show wastes no time on plot, instead linking pop classics with menopause-themed lyrics and broad comedy. It’s a format that could easily flag, but in Cameron Mitchell’s brisk staging the pace feels more like momentum than overload, sustained by four performers who never let the energy drop.

The archetypes are simple—Professional Woman, Soap Star, Housewife, Earth Mother—but the cast injects them with distinct flavour. Tara Morice, remembered by many as Fran from Strictly Ballroom, brings a real edge to her Professional Woman, most memorably when she trades businesswear for a shiny black top, skirt, and denim jacket to belt What’s Love Got to Do With It. Erika Heynatz, cast with a wink as the Soap Star given her Home and Away past, proves the standout vocalist, carrying numbers with clarity and ease. Melissa Langton’s Housewife combines warmth and honesty with gleeful broad comedy—her romp in red lingerie over her clothes is a crowd-pleasing highlight. Cherine Peck, reprising her role as Earth Mother, leans into the playfulness of the part, giving the ensemble an effervescent lift.

Christine Mutton’s costumes start in recognisable shorthand—power suit, flowing layers, domestic comfort, showbiz glam—before sliding into sillier territory. The red lingerie gag and the final sparkly outfits underline the production’s refusal to take itself too seriously while still keeping the glamour dialled up. Frances Story’s set is functional but bright, leaving space for the performers, while Jasmine Rizk’s lighting design proves versatile: bold washes carry the big numbers, but subtler effects sneak in, particularly during the hot-flash sequences where the humour lands visually as well as vocally.

The songs themselves—rewritten classics from the baby boomer songbook—are instantly familiar, and that recognition is half the joke. For an audience of “ladies of a certain age,” as the program knowingly puts it, the combination of nostalgia, camp, and shared experience is irresistible. Saturday night’s crowd responded with knowing laughter, cheers, and a standing ovation.

Menopause the Musical is not a show for subtlety or story. It’s a night of energy, glamour, and communal release. In this Sydney staging, thanks to a committed cast and slick creative team, the formula still works—and then some.

To book tickets to Menopause The Musical, please visit https://menopausethemusical.com.au/.

Photographer: David Hooley, Joel Devereux

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Bright Star – A Bluegrass Musical

12/09/202512/09/2025 Cherelle Flemming🥈

Bright Star – A Bluegrass Musical Rating

★★★★★

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The spectacular Bright Star musical presented by Sport For Jove Theatre Company, in association with Hayes Theatre Co, is a spellbinding must-see. Co-Directed by Miranda Middleton and Damien Ryan, Musical Direction by Alec Steedman and produced by Christopher Tomkinson and Isabella Milkovitsch, this creative team – along with their cast – have created an absolute masterpiece.

The magnificent cast left me in awe of their radiating talent. In the theatre world we talk about “triple-threat” performers who can sing, dance, and act. Well, this sensational cast raised the bar adding instrumental skills into the mix-quadruple threats!

This highly acclaimed production transports audiences to the 1920s and ‘40s in the American South. Steve Martin and Edie Brickell were inspired to write Bright Star after discovering an old newspaper article about the “Iron Mountain Baby” – an incredible true story of a baby’s miraculous survival after being thrown from a moving train inside a suitcase. Rescued and adopted by an elderly couple, this miraculous story sparked a reimagining that became this heartwarming, bittersweet tale.

Now to the music: the score is brilliant-one you’ll want to add to your playlist. The powerful bluegrass songs resonate with heartfelt emotion, striking the audience with every note. Congratulations to the Musical Director, Alec Steedman on an outstanding job of directing this talented cast to deliver an exhilarating performance. The impeccable harmonies and the all-round musicianship of the singers and instrumentalists were absolutely inspirational.

Hannah McInerney is sensational in the lead role of Alice Murphy. She took my breath away from the opening number with her angelic vocals, rich with Southern warmth. Her playful, engaging acting was both charming and humorous yet deeply moving in the poignant moments. At times, I was wiping away tears; at others, laughing in hysterics. Hannah kept me captivated throughout her intoxicating performance.

Kaya Byrne gave an electric performance as the charismatic Jimmy Ray. Kaya sings, plays guitar and harmonica with utmost professionalism, and conveys his character’s heartbreak and anguish with depth and honesty. Kaya’s emotive performance was deeply impactful, leaving my heart in my throat.

Cameron Bajraktarevic-Hayward is utterly delightful as Billy Cane. Expertly playing the cello during the show, he delivered the role with skill, energy and heart. His agile dance moves and magnetic stage presence enhanced an already brilliant performance.

Deirdre Khoo shines as Lucy, flawlessly showcasing her talents on accordion, vocals, dance and acting. Her show-stopping moves illuminated Shannon Burns’ masterful choreography. Deidre, alongside Jack Green who played the comedic Daryl, brought plenty of laugh-out-loud moments which kept the audience well entertained. Jack Green also played the sincere Daddy Cane, a contrasting character full of emotional depth and sincerity.

Genevieve Goldman, as the comedic relief character Margo,brought dynamic energy to the story. With fabulous comedic timing, striking vocals and impressive acting, Genevieve provided an engaging performance.

As the villainous Mayor, Seán van Doornum was remarkable. Portraying a detestable character convincingly can be difficult, but his superb performance captured the proud, unfeeling, and truly evil nature of the role.

Katrina Retallick and Rupert Reid as Mama and Daddy Murphy were a powerhouse duo. Katrina’s stunning vocals, especially her harmonies with Hannah, were unforgettable. Her raw intensity in the harrowing scenes amplified the emotional impact. Rupert’s portrayal of an uncompromising father, weighed down by regret, was equally striking—his natural, convincing delivery perfectly suited the show’s era.

Bright Star will make you laugh, cry and fall in love with its story and musical score. This impactful production, with its incredible stellar cast, is not to be missed. I am certain you will fall in love with it, just as I have.

To book tickets to Bright Star – A Bluegrass Musical, please visit https://www.sportforjove.com.au/bright-star-2025.

Photographer: Robert Catto

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