Next Fall – Unmissable!

Next Fall

Next Fall Rating

★★★★★

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The best plays are ones which sit in my mind, long after the curtain call. The special blend of plays that, the longer they percolate and brew, they deepen. Not only in colour but in depth and substance. This is “Next Fall”, a Boyslikeme Productions play, on now at The Eternity Playhouse in Darlinghurst. Have I really compared “Next Fall” to coffee? Yes, I have – and believe me, I love my coffee strong which is what this play is! “Next Fall”, written by Geoffrey Nauffts, is a layered and emotional piece of theatre and had me thinking not only about the physical aspects of the play, but also about important current themes revolving around love, religion and societal and family expectations.

At the heart of it, is a love story between a couple. Adam and Luke are gay, and they’re in love. If only Life was that harmonious. Set in 2009 in New York City, their relationship unfolds, alternating between the present and flashback scenes of the preceding five years of their relationship. In the opening scene, Holly (Natasha Vickory) and Brandon (Jason Jeffreries) are in a hospital waiting room. They don’t appear to be too familiar or comfortable with each other. Arlene (Sophie
Gregg) enters with a whirlwind of chatter.

After some time, the audience experiences Adam (Luke Jacobz) and Luke (Conor Fogarty) falling in love, moving in together and their friendship with Holly, a candle shop owner and Adam’s boss. The age gap between the two doesn’t affect them (Adam is older than Luke) but there are two other differences which divide the pair. Luke is deeply religious, and consequently not open and honest with his family about his relationship with Adam. And he is not honest to himself about living his own truth and being comfortable in his own sexuality.

There’s one particular scene which stands out to illustrate this. It’s a simple scene, with Adam and Luke joking around in their apartment. Jacobz and Fogarty show the easiness of their characters, and there is beauty in their connection. They could be any loved up couple in the world. It all crumbles in an instant when Adam, who is agnostic, says one line, delivered by Jacobz with a heartbreaking plea, “I want you to love me more than Him.” The way that Fogarty portrays Luke in the following moment was perfection, and his silence cut like a knife. To me, this was a poignant moment and one which had less to do with sexual orientation, and more to do with faith and upbringing in the church. In any relationship, companionship with religious beliefs will lead to a happily ever after, in the “forever after”.

 

The play regularly transitions between past and present time periods, the latter in a hospital waiting room. This is indicated by a disconcerting and purposeful electric buzz accompanying a quick flash of light. At times this seemed disjointed and a even especially after a comedic scene. Kudos to set and lighting designer Casey Moon-Watten for creating this delineation between the past and shocking present.

In scenes where Adam comes face-to-face with Luke’s parents, Arlene and Butch (played by Gerard Carroll), Jacobz’ masterful performance swings between his character being respectful and unsure, to building up to an explosive scene, which stands out as a powerful moment. Carroll delivers a compelling performance as Butch, embodying a stern, traditional man of faith with conviction and a steady dose of homophobia. Another encounter with Butch and Luke deepens the emotional complexity of the story, highlighting Luke’s internal struggle and the bravery required to reveal his true self to his father. The scene poignantly explores the universal theme of seeking parental acceptance and approval, an enduring desire that persists regardless of age.

“Next Fall” skilfully weaves comedic moments throughout the script with witty dialogue lightening the play’s more serious subject matter. The cast embraces this, notably in one scene where Adam finds himself in his apartment alone with Butch. Knowing that Butch is unaware that he is Luke’s partner, yet wanting to be polite and a good host, he offers Butch a cup of tea. The two men end up discussing the ‘dainty’ teacups, with Adam offering a sweetener in the cutest ever honey bear
pot. The campuses of this scene was golden and had the audience laughing at the clearly uncomfortable Adam.

Producer and Director Darrin Redgate has brought together a talented cast and crew, delivering an insightful blend of drama, humour and pure heartfelt emotion that will leave audiences with a play to remember and think about, long after the curtain falls. “Next Fall” offers a poignant reflection on society’s ongoing struggle for acceptance and harmony. Despite being set 27 years ago, Luke’s reluctance to come out to his parents and the internal pressures he faces within his relationship with Adam, mirror fractures that still exist in today’s social climate. It is both interesting and disheartening for me to see how little progress has been made. I hope that it won’t take another 27 years for society to embrace the true essence of love and kindness, no matter who you are, who you believe in and who you love.

“Next Fall” is unmissable – bring a friend!
Season run: 22 October – 7 November 2026
Eternity Playhouse 39 Burton St Darlinghurst
Run time: 135 minutes with a 20 minute interval
Tickets: www.nextfall.com.au

To book tickets to Next Fall, please visit https://www.nextfall.com.au/.

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Crazing

Crazing

Crazing Rating

★★★★★

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Walking into the theatre space, we heard Helen Reddy’s song booming out, ’oh, yes, I am wise but it’s wisdom more than pain, yes I paid the price but look how much I’ve gained…’ On came Karli Evans initially playing modern Aila Driscoll, a business woman and more macho than the men because it is still a man’s world. Now don’t think this play is only for women, the men in the audience responded instantly recognising the men she was referring to as they have to deal with them as well. However; her character and the following historic female characters presented the physiological and psychological pain of a woman standing up for her rights, ethics, belief and pure love; swimming against the tide and often paying a price.

Oliver Brighton, Tech Director, provided the sound and lighting subtly changing the mood of each character via projection on a scrim. The set, a fading hotel room in the middle of a redevelopment project resisting progress, had torn wallpaper and a basic single bed and chair that provided a refuge for each character. It would cleverly change to reflect different characters and the decor of its era and without giving anything away, clever on-set costume changes reflected the fashion of the time.

 

Writer and producer Kerrie Simon-Lawrence has crafted an eloquent, humorous and fascinating series of monologues featuring four Australian women from different eras, each grappling with difficult decisions and the social constraints of her time, and directed by Lara Lightfoot. Mary Anne Monroe-Bentley, Molly Fink and Angie Sage are honoured for their stand and place in women’s history and fight for their identity. Karli alters her voice and posture to tell their stories and the audience believed in each change of persona.

With all of that, it is Karli who holds your attention as she switches from being the modern Aila to jump into each of the other women’s characters. The language changed in complexity and emotion and it was a ‘tour de force’ for one actor. She ebbed and flowed as a modern woman frustrated with the business world whilst juggling her attention to her love for her partner as she is challenged with making decisions about work and family.

The characters outline women’s need to make decisions about their bodies, their social status, how to walk through a dark park at night alone and even as a sex worker; why a condom is non-negotiable. The messages are still relevant and the monologue is arresting, emotional and even sometimes wryly humorous. The audience responded and were having discussions as we all exited the theatre. We were left wondering how Aila would manage what her next step might be and her stance as Helen Reddy sang,”I am Woman”.

To book tickets to Crazing, please visit https://whatson.cityofsydney.nsw.gov.au/events/crazing-by-escape-artists.

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Catch As Catch Can

Catch as Catch Can

Catch as Catch Can Rating

★★★★★

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1

The title ‘Catch as Catch Can’ carries an evocative historical resonance. Originally a style of submission wrestling that made its way into the early modern Olympic Games, “catch-as-catch-can” was defined by a stark absence of restrictive rules where almost any hold, tactic, or maneuver was permissible to pin down an opponent. Idiomatically, it has come to mean achieving an outcome by any means possible.

In Mia Chung’s play, presented by Empress Theatre and directed with sharp intelligence by Anna Houston, this brutal ethos becomes a haunting metaphor for domestic survival. Here, two generations grapple for control, stability, and love by any means possible. The younger generation—Tim, Lon, and Robbie—yearn desperately for an escape, yet every path, be it a new job, marriage, or parenthood, feels like a trap. To survive, they resort to hiding relationships, feigning composure, and manufacturing facades. Meanwhile, their parents, Theresa and Roberta, yearn for the exact opposite: despite wanting to give their children freedom, they struggle to let go and stop interfering, by leveraging guilt, emotional manipulation, and heavy-handed family role pressure to keep their offspring tethered to the past.

Set within two working-class American families of Italian and Irish origin, ‘Catch as Catch Can’ operates beneath a surface of everyday conversations and occasional flashes of dark, witty humor. Yet beneath those conversational surface ripples lies a complex web of family tensions, unspoken expectations, and deep emotional wounds.

 

When Tim returns home, the quiet rhythm of his mother’s and neighbors’ lives is shattered. His presence drags old, buried tensions back into the light, culminating in an emotional breakdown that alters the entire atmosphere of the play. Suddenly, the fragility beneath their ordinary routines becomes impossible to ignore, leaving the audience to sit with the uncomfortable realities of family life and the lasting effects of trauma.

While Chung’s script provides a fascinating psychological jigsaw puzzle, the undisputed crown of this production belongs to its virtuoso ensemble. Three actors play six characters, seamlessly crossing boundaries of age and gender without relying on full costume changes or gimmicky transformations. Robin McLeavy plays both Lon and Daniela Lavecchia, David Soncin plays Roberta Lavecchia and Robbie, and Andre de Vanny plays Tim Phelan and his mother, Theresa.

To watch these three deliver a performance of such extraordinary precision, physical control, and emotional depth is nothing short of thrilling. Without costume changes to rely on, the transformations happen entirely through posture, vocal timbre, rhythm, and intention. One moment an actor embodies the rigid, watchful stance of an aging parent; a beat later, with a subtle shift in weight or breath, they become an anxious adult child navigating a fraught conversation.

Robin McLeavy is particularly outstanding, conveying profound emotional pain and the shock of traumatic experiences with an intensity and vulnerability that are difficult to look away from. There is something raw and deeply affecting in her performance that makes her character’s distress feel painfully real. David Soncin and Andre de Vanny match her with brilliant versatility, sustaining the shifting world of the play and keeping the emotional pressure cooker boiling.

Dark, complex, and disturbing—yet illuminated by moments of humor— ‘Catch as Catch Can’ is a demanding and deeply rewarding piece of theatre.

To book tickets to Catch as Catch Can, please visit https://www.oldfitztheatre.com.au/catch-as-catch-can.

Photographer: Phil Erbacher

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Do We Carry On As Normal, Live In Up Or Party Like There’s No Tomorrow?

Cruise

Cruise Rating

★★★★★

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Cruise by Jack Holden
Directed by Sean Landis
Produced Maybelline San Juan
Movement Director Jeremy Lloyd
Starring Fraser Morrison

Cruise is an intergenerational monologue spanning four decades and over 20 characters, celebrating queer nightlife and paying tribute to a generation lost to the AIDS crisis.

Our two central story characters, one a young twink volunteering at an LGBTQIA+ helpline call centre just months before the Covid-19 Pandemic and Michael Spencer, the caller to the helpline. The young twink is left alone one Saturday and Michael calls on a particular anniversary that meaningful to him.

The plot is backlit by the clubs of London’s Soho in the 19802, Michael is living with HIV in 1984, he’s told by doctors that he has just four years to live. The show questions how to survive and what to do when given this type of information. Do we carry on as normal, live in up or party like there’s no tomorrow? And if you survive, how can he go on living?

This is a beautiful but heart wrenching play, filled with many fabulous characters to help us breath and have lighter moments in some of the darkest times during the trenches of the AIDS epidemic. Some of my favourite characters were the older ladies depicted in the play.

 

Fraser Morrison has a Mount Everest to climb and does so with great energy and enthusiasm. It’s an emotional, vocal and physical roll coaster.

The lighting by Tom Hicks is stunning and makes stepping into so many different settings a lot easier with the very limited set that is used.

I did find some of the accents off putting, as I did not know what part of the UK they were from or they were more Australian than British. Having lived in the UK a long time and seen most of the country, it stands out like a sore thumb when they waiver or are a strange amalgamation of several at once. This could have been opening night nerves.

The play runs nearly two hours straight through. I personally felt there should have been an intermission and there are two cliffhanger points where it could have clearly happened. I think this would have let the audience breath a bit more.

Take tissues with you and use the bathroom before the show starts. I think it’s definitely worth seeing.

Cruise runs at the Seymour Centre until October 31st.

To book tickets to Cruise, please visit https://www.seymourcentre.com/event/cruise/.

Photographer: Abraham de Souza

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