Sydney Physical Theatre - Whats The Show

The “Calendar Girls” Idea Takes Off, More Than Expected!

26/02/202623/02/2026 Linda Lokhee🏆🥇🦉

Calendar Girls Rating

★★★★★

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The Lane Cove Theatre Company’s production of Calendar Girls was absolutely delightful, where fresh “sunflowery-goodness” shone from the stage via the actors! Although the play has a serious undertone, with one of the character’s husband, John (Darren Gibson) passing away from leukemia, Director, Light and Sound Designer Kathy Petrakis led the company towards showcasing an inspiring story which evolved into a powerful celebration of a group of women. The story highlights their bravery in stepping beyond their comfort zone along with the unbreakable bonds of friendship.

Based on a true story, Calendar Girls opens with a group of mature women attempting to do a yoga class, led by Chris (Michelle Bellamy), which dissolves into teasing each other. The audience quickly sees the easy-going friendship between these women, who meet regularly in Yorkshire at the Women’s Institute.

When the unthinkable happens and John falls sick, diagnosed with leukemia, his wife Annie (Anita Lenzo) is devastated. Having been previously viewed as a bright and positive presence on stage, Gibson’s portrayal of his character John struck me deeply, as he convincingly shrinks into his former self – sitting in a wheelchair and speaking weakly- evoking a powerful emotional impact.

When he passes, the way this is told was respectfully done, with writer Tim Firth ensuring that John’s legacy and wish for his loved ones would be like his favourite flower, the sunflower. The line “the last phase of the sunflower is the most glorious” appears to live on as a blessing. So begins a heartfelt mission to raise money for leukaemia research and to improve the relatives’ waiting room in the hospital by replacing an old uncomfortable lounge.

Chris and Annie come up with the idea for their group of friends to pose nude for the upcoming WI calendar, and it takes some convincing for the others to agree. Bellamy’s portrayal of outgoing Chris was noteworthy, and she showed the vulnerability of her character as well as her fierce strength. Lenzo playing the grieving widow Annie, was acted with heart and a quiet determination.

Each of the women were given props to use in their photo shoot. I won’t give any spoilers away, except to say that how the photo shoot was done, was in equal parts both tasteful and hilarious! I would imagine that this task of having a live “nude” photoshoot onstage would have been a challenge, so well done to the cast and crew. The audience loved this scene!

Blake Nicholas, portraying the calendar’s photographer Lawrence, and later toward the end of the play, another photographer named Liam, gave strong performances as both. Pauline Garner’s character Marie gave her the opportunity to showcase her comedic flair as the uptight head of the WI Yorkshire branch, particularly in a scene where she is playing a game of badminton with Ruth.

What I really liked about Calendar Girls was that each woman in this friendship group had a story to tell and the actors brought their own character’s individuality and quirky personalities to the forefront with sleek nuances and body language. No single character was “the star”. I think that this united the audience closer to the characters. Janette Chambers brought her musical and singing background to the stage playing the confident church organist Cora, the Vicker’s daughter, with spunk! Jessie was played with a twinkling cheekiness by Karen Firmstone, and her delivery of a certain line during the calendar photo shoot had the audience in bouts of laughter. Georgina Philpott, who played Celia, nailed her character’s vibrant personality well. Josephine Birch’s character Ruth had a wide scope of emotions due to her situation which played out as time went on, and she portrayed Ruth’s fragility to strength perfectly. The Yorkshire accent is a difficult one to master, and I’m sure that the cast will continue to polish this distinct accent as the season unfolds.

Calendar Girls felt authentic, in a way that only a well written true story can. The ending was a tribute to people who have been affected by cancer and it was moving and respectful. When we were told the end fundraising total for the “WI Alternative Calendar”, I left the theatre feeling hopeful and impressed by the strength of community and the power of lasting friendships. If you want to feel this way too, combined with a few belly laughs, go and see Calendar Girls in Lane Cove!

Tickets: www.trybooking.com/events/landing/1508641
Duration: 2 hours with interval
Season: 20 February – 1 March 2026
The Pottery Lane Performance Space
1 Pottery Lane, Lane Cove NSW 2066
(There is onsite parking, for free after 6pm)

To book tickets to Calendar Girls, please visit https://www.lanecovetheatrecompany.com.au/.

Photographer: Jim Crew, Lane Cove Creative Photography

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Red Herrings and Sinister Secrets – Agatha Christie’s The Murder of Roger Ackroyd

20/01/2026 Linda Lokhee🏆🥇🦉

The Murder of Roger Ackroyd Rating

★★★★★

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Agatha Christie was a prolific author, one of most well-known novelists in history. (In fact, she is considered the third best-selling author of all time, behind William Shakespeare and the Bible) Her 66 detective and 14 short story books have sold over 2 billion copies.

When What’s the Show sent me to review “The Murder of Roger Ackroyd”, I was looking forward to seeing the performance. Adapted by Philip Grecian, directed by Ali Bendall and presented by the Genesian Theatre Company, the play delivered a performance that would make Agatha Christie smile. It was a great choice to have as the first Agatha Christie play in 2026 at their new home in Rozelle.

The Murder of Roger Ackroyd is a play with a large cast. There are fourteen characters played by thirteen people. The first act of the show was dialogue heavy and had me playing catchup with Who’s Who. By the intermission though, I had a grasp on the relationships between the characters. The layout and design of the program was one of the most gorgeous I have seen – well done to the graphic designer. There was a Murder Mystery Bingo page for fun, a list of Possible Suspects and their role, and a Suspects / Motives Evidence Board which helped consolidate the characters for me during the intermission.

The play centres on Dr. James Sheppard (Nathan Moss), a local doctor in the quaint English village of King’s Abbot. He narrates the events surrounding the startling murder of the affluent Roger Ackroyd. A neighbour, known to Dr Sheppard’s sister Caroline (Roslyn Hicks) for throwing marrow over the fence, is the renowned Belgian sleuth Hercule Poirot (Peter David Allison). The famous detective known for his sharp mind and methodical approach becomes entangled in this mystery, even though he is retired. Through clever questioning and careful observation, Poirot works to reveal the real story beneath the surface, interviewing possible suspects and employing his “little grey cells” as he likes to put it, to lead the audience in a suspense-filled classic play.

Director Ali Bendall had the daunting task of creating a set with many different locations, and she successfully brought them all to the stage clearly with the use of lighting (Lighting Design by Cian Byrne) props (including a real antique Dictaphone) and variations in using the whole front theatre space. The cast were dynamically moving, including below the stage, in front and to the sides of the audience. The effect of this surprisingly brought the audience close to the action and encompassed us, making us feel a part of the story. Ali was also the Sound Designer and the ominous, dark music during the scene changes added to the whole atmosphere of mystery and threatening going-ons.

The script had some very witty moments throughout the show. Peter shone as bow tie wearing Poirot, the character delivering many lines and play on words which had us laughing. “The game is afeet!” “Hercule Poirot knows!” Roslyn as Caroline, the village gossip, held the audience from the beginning, her cheeky confidence as she bantered with her brother about all the happenings in the village was very funny. She is forgiven when she says, “I don’t pry things out of people!” indignantly, and then proceeds to ask personal questions to another character, indeed prying! John Parker (Peter Hoekstra-Bass) played The Butler who found the murdered Roger Ackroyd. On request from Poirot, his re-enactment with Ackroyd’s niece Flora Ackroyd (Jen Manoogian) was played with great over-enthusiasm, so much so that I thought, “John Parker has just discovered what he wants to do after he finishes his employment as a butler – acting!”

The cast and their British accents were impressive. Combined with Susan Carveth’s costume design, they put just the right emphasis on reeling the audience in and making us wonder who amongst these group of people was responsible for Roger Ackroyd’s death. Particularly during the second act, the red herrings were scattered everywhere, clues were looked for by me, and this became part of the game. It’s typical of an Agatha Christie novel – twisty, sinister secrets revealed slowly, blackmail, with a great ending. I won’t spoil the whodunnit, but when you see this play, (and you definitely should!), look out for the murderer’s pace and delivery – kudos to that actor, and to the whole cast.

The Murder of Roger Ackroyd is playing 16 January – 28 February 2026 at the Genesian Theatre. 2B Gordon Street, Rozelle.
Run Time: 2 hours 30 minutes (including a 20-minute interval)
Tickets: www.genesiantheatre.com.au/events/the-murder-of-roger-ackroyd

To book tickets to The Murder of Roger Ackroyd, please visit https://genesiantheatre.com.au/events/the-murder-of-roger-ackroyd/.

Photographer: Anthony Burns

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Those Life Changing Three Little Words – Elanora Players

17/01/2026 Linda Lokhee🏆🥇🦉

Three Little Words Rating

★★★★★

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Australian Playwright Joanna Murray-Smith’s choice of “Three Little Words” for a title about two couples’ friendship is an interesting one. Initially I assumed that those three little words alluded to “I Love You”. However by the end of the play I realised that those three little words could be interpreted as to whatever the audience thinks – and this was a very clever prelude to a witty script performed by four engaging actors from the Elanora Players.

Tess (Tracey Keene) and Curtis (Paul Sheldon) have invited their long-time besties for dinner on their 20-year anniversary. After reminiscing good naturedly about the many good times and the way they met, Tess and Curtis announce a bombshell in the form of three little words, “We’re Splitting Up”. Bonnie (Karen Oughtred) and her partner Annie (Chantal Harrison) are disbelieving and shocked. The shaking up of what they thought was an unbreakable bond between the four friends sets off a split between all of them, and we are witness to the devastation that unravels.

Tess wants to explore her own identity, apart from being a daughter, wife and mother and yearns for something other than domesticity. She is highly critical of Curtis’ occupation as a teacher (“overqualified and underpaid”) and is constantly irritated by her husband’s habits. Tess is a self-centred woman who desperately wants out of the marriage to see what she could evolve into. She believes that Curtis will be there for her afterward. Tracey portrayed Tess’ selfish character that was quite unlikeable very successfully to the audience.

Initially I found myself feeling sorry for downtrodden Curtis, with his gentle manner and complacency. However, his immediate behaviour following the separation sparks some controversy, as Paul effectively expands his character’s complexity by swiftly entering the dating scene to be with a significantly younger woman. His actions suggest that an amicable separation might be unlikely, and his pointed, hurtful remarks towards Tess diminish my sympathy for him.

The split is a catalyst for Annie, a masseuse and Bonnie, a high-end art dealer, to suddenly explore their own relationship. Bonnie’s warm and younger partner Annie, who feels Bonnie’s condescending words deeply, was played with a sweet, quiet strength by Chantal.

Karen’s character Bonnie had a mix of forthrightness and vulnerability. Kudos to Karen who held the stage with convincing conviction – Bonnie was a standout character to me.

There’s a recurring reference to and even a custody battle for Tess and Curtis’ tantalus, a wooden lockable stand, which holds whiskey and is inaccessible without a key, to keep it safe from children or from servants in the old days. This heirloom is a gentle representative of how Tess feels, alluding to the Greek myth of Tantalus, who was eternally tempted by food and water just out of reach.

Director Kerrie King’s set was simple and effective, showing two living rooms side by side, their own spaces represented and separated by the use of different coloured walls and furniture. Lighting designer Wayne Chee and Lighting Operator Thomas Van der Plaat highlighted the rooms and characters well, bringing attention to where it was needed. Sound Design and Operator Walter Opdam’s choice of music brought the right atmosphere to the play, especially with his choices of songs such as George Michael’s “Freedom” as Tess was dancing and singing on the couch, and a song I’d never heard about IKEA as Tess attempted (and failed) to put together something from IKEA, after boasting to her friends that she never wanted to have anything personal again!

“Three Little Words” is a portrait of the aftermath of a breakup, of how the dissolving of one couple’s marriage affects their friends unexpectantly. How the dynamics of situations change in ways that are unpredictable because we are human. It is certainly a thought-provoking play, but not a play that is completely sad. In parts yes, but this clever script was laden with so many light moments sprinkled in, delivered by the characters’ wry and quick dialogues which made me and the audience laugh often, and quite a lot!

I loved the Elanora Players’ production of Three Little Words! Perhaps those Three Little Words from the title may have been “I See You” or Annie’s wisdom of “It’s About Kindness”. Or maybe it is meant to mean something else altogether; the audience can make up their own minds and there is creative beauty leaving it like that.

“Three Little Words” run time: approximately 90 minutes, with a 20 minute interval
Jan 9 – Jan 17 2026 at North Narrabeen Community Centre, 2-10 Woorarra Avenue, North Narrabeen
www.elanoraplayers.com.au

To book tickets to Three Little Words, please visit https://elanoraplayers.com.au/.

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Much Ado About Nothing

16/12/2025 Melissa Marsh🥉

Much Ado About Nothing Rating

★★★★★

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This Much Ado About Nothing is set on the South Coast in the week before Christmas, and the choice is not cosmetic. From the moment Don Pedro, Claudio and Benedick enter wheeling a battered esky, the world is established: this is a family gathering, loud, sunburnt, faintly daggy, and thick with history. The cicadas hum, So Fresh Summer Hits blare, and the audience—seated in the round, sometimes beside the actors themselves—is folded directly into the social fabric of the play.

The production leans into deliberate dagginess. Costumes are bright, mundane, occasionally ugly. The set is minimal: a Christmas tree, a party table, a CD player, tinsel slung over exits. Popular music and unpolished dancing create the feeling of a real holiday gathering rather than a theatrical abstraction. In a space this small, there is nowhere to hide—and the production knows it.

Theo Rule’s Benedick is an Australian bloke we recognise instantly. His loud vows of eternal bachelorhood are funny because they’re defensive, half-brag and half-shield. What makes the performance quietly impressive is the vulnerability Rule allows in. As Benedick overhears that Beatrice may love him, the change is gradual, almost reluctant. Armour loosens in stages. Pauses lengthen. Hope creeps in. By the time Benedick acts, his earnestness feels earned, not performative.

Madison Chippendale, who also directs the production, gives Beatrice a different kind of armour. Her wit reads as learned self-protection, shaped by disappointment rather than disdain. When she overhears Benedick’s supposed love, curiosity flickers—but caution holds the line. Her later demand that he prove himself lands not as cruelty but principle. That insistence becomes the moral spine of the play, aligning directly with Benedick’s decision to believe Hero when others will not.

Andrea Magpulong’s Hero emerges slowly, but when she speaks there is no ignoring her. That restraint makes the wedding scene genuinely shocking. In such close quarters, Claudio’s public shaming feels brutally intimate. James Papadakis plays Claudio as someone painfully familiar: good-natured, not too bright, easily led. His cruelty comes not from malice but weakness, which makes it harder to excuse.

James Yeargain’s doubling of Don Pedro and Don John is smartly executed, though the production’s trimmed structure means Don John’s plot is never fully resolved. This Much Ado prioritises emotional truth over narrative closure, and that trade-off is visible.

The true heart of the production lies in the Beatrice and Benedick scenes. Calling it “chemistry” is inadequate. What plays is collision—two guarded people meeting at force. Love doesn’t bloom here; it crashes.

There is something quietly principled in these choices. Shakespeare did not write for high culture; he wrote for crowded rooms, for people eating, drinking, laughing, and sometimes being cruel to one another. Chippendale’s direction understands this instinctively. By embracing the familiar — the bad taste, the pop music, the awkward dancing, the Christmas rituals everyone recognises — the play is returned to its natural habitat. In this exposed, communal space, the language doesn’t arrive as something precious, but as something overheard. And that is where it belongs.

To book tickets to Much Ado About Nothing, please visit https://www.trybooking.com/events/landing/1493684.

Photographer: Jamie Simmons

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