Cast Announced For The Addams Family At Hayes Theatre

Feature-The Addams Family

Joshua Robson Productions and their team behind the sell-out success of The Producers returns to conjure up another deliciously dark delight, bringing the Tony Award®-nominated global smash The Addams Family to Hayes Theatre Co from 11 July. Tickets are on sale now via www.hayestheatre.com.au.

At the heart of this gloriously gothic household stands Morticia Addams, embodied by double Helpmann Award–nominated triple threat Erika Heynatz (Legally Blonde, Menopause the Musical), whose elegance is as sharp as her wit. Opposite her, the ardently devoted Gomez Addams finds his match in acclaimed Filipino-Australian performer Marcus Rivera (Miss Saigon, City of Angels), promising a romance that burns as brightly as it does bizarrely. Emerging from the shadows, Wednesday Addams—the ultimate princess of darkness—will be brought chillingly to life by recent NIDA graduate Jenny Guigayoma (Nine, Peter Pan). Meanwhile, her delightfully devious younger brother Pugsley takes mischievous form in Georgia Oom (Werkaholics, Footloose), whose penchant for chaos keeps the household on edge. Hovering somewhere between the strange and the sublime, Uncle Fester will be ignited by the electrifying Evan Lever (The Normal Heart, Muriel’s Wedding), guiding the story with peculiar charm. Adding fuel to the family fire, Deborah Galanos (The Boomkak Panto, Stop Girl) unleashes her comic prowess as the unapologetically anarchic Grandmama. Towering—both in stature and presence—Elliot Aitken makes his professional debut as the ever-loyal, ever-lurking Lurch.

In a delicious twist of fate, Teagan Wouters (Bonnie & Clyde, The Wedding Singer), who originated the role of Wednesday in the original Australian production, returns to the Addams universe as Alice Beineke—a woman on the brink of polite society collapse. Her tightly wound husband Mal Beineke will be played by Rory O’Keeffe (HMS Pinafore, Playing Beatie Bow), while their seemingly “normal” son Lucas—harbouring a secret of his own—comes to life through First Nations performer Alexander Tye (Once on This Island, Footloose The Musical). Completing this cryptic clan are the Addams ancestors, rising from beyond in the forms of Mae Li Cowell, Nathan Fernandez, Jayden Prelc and Paloma Renouf, with Kayla Ingle-Olson and Joey Phyland lurking in the wings as swings.

When Wednesday Addams, the ultimate gothic outsider, falls for a perfectly “normal” boy, everything the Addams family holds dear is turned upside down. As the two families meet for one fateful evening, secrets are revealed, boundaries are tested, and chaos is delightfully unleashed. With an extraordinary original score and a story to die for, The Addams Family promises a wickedly entertaining night for audiences of all persuasions.

Directed by Julia Robertson (The Producers, Metropolis), with musical supervision by Zara Stanton (Dear Evan Hansen, In The Heights) and choreography by Shannon Burns (Gutenberg! The Musical, The Producers), this bold new production will push boundaries and breathe new (after)life into a beloved classic.

Director Julia Robertson said “Our version of The Addams Family will dive headfirst into why these characters have captivated us for decades, celebrating their boundless passion for life (and death), their wildly creative and expressive ways of communicating, and their fearless embrace of all things unique and darkly fascinating. We’re allowing the subconscious to take centre stage as emotion overrides logic and the ordinary transforms into something poetic, playful, and deeply human. The Addams don’t just live outside societal norms, they inhabit a reality entirely of their own making, shaped by ritual, instinct, and imagination. Inspired by the original artist, Charles Addams himself, our production will lean into striking composition; stylised, surprising, yet unmistakably Addams!”

“I am so excited to unveil this extraordinary cast; an honest, dark, deliciously funny, and fiercely talented ensemble of storytellers ready to revel in the weird and wonderful world of The Addams Family. Each performer brings a thrilling breadth of experience and a bold individuality to these iconic roles, infusing them with fresh energy, unexpected nuance, and their own wickedly delightful flair. Audiences are in for something truly special!”

The unsettlingly enchanting musical comedy from Marshall Brickman and Rick Elice, writers of the multi award-winning hit musical Jersey Boys, with music and lyrics by Andrew Lippa, will haunt you in the most delightfully spooky way.

THE ADDAMS FAMILY
Producer Joshua Robson Productions (JRP)
Director Julia Robertson
Music Supervisor Zara Stanton
Choreographer Shannon Burns
Music Director Alexander Gaal
Assistant Director/Choreographer Grace Stamnas
Production Designer Dann Barber
Associate Production Designer Meg Anderson
Lighting Designer Jasmine Rizk
Sound Designer Chaii Ki Chapman

SEASON DETAILS
Venue: Hayes Theatre Co, 19 Greenknowe Ave, Potts Point
Season: 11 July – 9 August
Times: Tues 6.30pm, Wed-Sat 7.30pm, Thurs 1pm, Sat 2pm & Sunday 1pm
Price: Preview tickets from $85, In season prices Adult $95, Concession $89, Groups/Previews from $85
Bookings: www.hayestheatre.com.au | (02) 8065 7337

BIOGRAPHIES
Erika Heynatz (she/her) – Morticia Addams
Marcus Rivera (he/him) – Gomez Addams
Jenny Guigayoma (she/her) – Wednesday Addams
Georgia Oom (she/her) – Pugsley Addams
Evan Lever (he/him) – Uncle Fester
Deb Galanos (she/her) – Grandmama
Elliot Aitken (he/him) – Lurch/Ancestor
Alexander Tye (he/him) – Lucas Beineke
Teagan Wouters (she/her) – Alice Beineke
Rory O’Keeffe (he/him) – Mal Beineke

 

Spread the word on your favourite platform!

A Celebration Of All Things Sparkling!

The Bubbles Festival 2026

The Bubbles Festival 2026 Rating

Click if you liked this article

The Bubbles Festival Melbourne: A celebration of all things sparkling!

Natalie Pickett founded The Bubbles Review 10 years ago, when her first blog educated those who thought Moet was spoken like the end of the word, “ballet”, with a silent T, when really, it’s pronounced “Mo-wett.” Natalie should know. When working as a tour guide in Europe, on a guided trip to Moët et Chandon, she confirmed this exact fact.

Natalie’s ‘Bubbles Reviewers’ Club’ offers members monthly rewards, tasting technique masterclasses and more discoveries and invitations via www.thebubblesreview.com

I met some of her club members on Saturday, 2nd May, for Bubbles Festival Melbourne, at River’s Edge Events in the World Trades Centre – in a room with a stunning view of the Skyline Wheel and Polly Woodside. Holding our complimentary Riedel sparkling glasses (included in our tickets), we were all thirsty to begin when Natalie welcomed our group and spoke about some important terms to remember before sampling the bubbles on offer. She reminded everyone to hold their glass by the stem, as best to view the bubbles in the middle. We were advised to enjoy the experience of each sparkling with each of our five senses; even holding the glass to our ears – as though listening to a seashell on the beach – and to take in the scent with our noses, as far as they’ll go into the glass before tasting.

“Bubbles – Just like a hug in a glass” and “ABC = Always Bring Champagne” slogans called to us from TV screens around the room. After this, we would visit all the Exhibitor tables to indulge in the exquisite selection.

In between tastings, we were served trays of various Canapés – including Truffle and Mushroom Arancini. We also indulged in a succulent seafood station and a cheese station – perfect bubbly food companions.

Ian was the friendly host from Clover Hill. He poured my first tasting with CLOVER HILL TASMANIA EXCEPTIONELLE MULTI-VINTAGE, (59% Chardonnay, 35% Pinot Noir, 6% Pinot Meunier) – a light straw/green hue in the glass, vibrant citrus and stone fruits on the nose and crisp acidity on the palette.

My second tasting was the CLOVER HILL TASMANIA ROSÉ MULTI-VINTAGE (66% Chardonnay, 29% Pinot Noir, 5% Pinot Meunier) with fresh vibrant strawberry notes upfront on the nose. The palate was layered and creamy with red forest fruits, to a balanced, long finish. This one was sweeter than the first and a little too perfumed for my taste – still a lovely sparkling.

My third taste was the CLOVER HILL BLANC DE BLANCS MULTI-VINTAGE – Tasmania with 100% Chardonnay. This one reminded me a tad of the lovely Billiecart-Salmon Blanc de Blancs Grand Cru NV from France. It too, is characterized by aromas of citrus, white peach, and brioche with a creamy texture.

Tasmanian cool-climate sparkling wines are dominating at the moment, having taken out all the trophies at the 2025 Australian Sparkling Wine Show and Clover Hill is no exception, having been recognised by The Real Review as one of the best producers in the country. They are consistently ranked among Australia’s top producers with a 5-star Halliday rating.

Ian had a fourth offer in CLOVER HILL ROSÉ D’ASSEMBLAGE MULTI-VINTAGE (63% Chardonnay, 29% Pinot Noir, 8% Pinot Meunier), which I didn’t get to sample as I felt drawn to the French table while there was a lull in the crowd.

 

 

I met Jean Paul at the Philippe Fourrier table for a quick chat. Since 1847, this family Champagne house located in Baroville, is anchored in an exceptional terroir, the Côte des Bar, in the south of Champagne appellation area.

JP’s first French pour was the CHAMPAGNE PHILIPPE FOURRIER – ROSÉ DE SAIGNÉE (NV) (90% Pinot Noir, 10% Chardonnay) with a light red to deep rosé hue and orange reflections, its fine and persistent bubbles adding elegance in the glass. The nose opened with ripe raspberry and fresh red berry aromas.

JP’s second French pour was LOUIS PERDRIER FRENCH BRUT (NV) – Bordeaux – France (100% Chardonnay), an exceptional French Sparkling. Deliciously toasty notes melt into the scent of golden apples. Gentle and harmonious on the palate with some richness tempering the citrus finish. For me, this was the best sparkling of the day.

The third French pour was CHAMPAGNE PHILIPPE FOURRIER – PINOT MEUNIER BRUT (NV) – Champagne, France (100% Pinot Meunier), with a beautiful pale-yellow hue and fine bubbles bright in the glass. The nose offered fresh red fruit aromas of subtle blackberry, hints of peach and plum. This one seemed a tad light to me after the Brut.

Lastly, I met Kathy at the Sutherland Estate stand – a small, second-generation family-owned enterprise located at a picturesque location in Dixon’s Creek, a mountainous area, past Yarra Glen in the Yarra Valley. Her first pour was SUTHERLAND ESTATE – 2021 BLANC DE BLANC SPARKLING – Yarra Valley (100% Chardonnay). Made from 100% Chardonnay in the Méthode Traditionelle, with secondary fermentation and ageing in the bottle.

Kathy’s second pour was her SUTHERLAND ESTATE – 2023 SPARKLING TEMPRANILLO (100% Tempranillo.). This renowned sparkling red is unique because we don’t often see a Tempranillo here in Australia. Sutherland have been making it for more than 12 years, and it’s all grown onsite. It has spent twelve months in seasoned barriques before undergoing secondary fermentation on lees in the bottle made Méthode Traditionelle, having a powerful burst of mid-palate fruit of berries, dark cherries, a bit of liquorice, with peppery spice and earthy undertones to finish. The palate is medium-bodied and well structured, with fine tannins and a persistent bead. A great match with cheese and charcuterie. It had the power of a sparkling Shiraz and I’m keen to visit their Cellar Door for more.

I tried the SUTHERLAND ESTATE – 2025 SPARKLING ROSÉ (with 100% hand-picked Pinot Noir). Whole bunches of Pinot are harvested from the vineyard and come into the winery and straight into the press immediately leading to the gorgeous pale salmon colour. The aromas are bright and enticing with rose petal, strawberry and perfume. On the palate were strawberries and cream. A delightful summer’s drink, but for the last glass of the day, I had to return for one last taste of the Sparkling Temperanillo.

Illustrator, Susan Kerian, who some recognised from her work with retailer, ‘Blue Illusion’, returned to showcase her original illustrations – perfect for ‘Emily In Paris’ fans and Francophiles.

All sparkling wines and Susan’s artwork could be purchased on the day so, I happily departed with my order for delivery of four of the LOUIS PERDRIER FRENCH BRUT (NV) from Bordeaux, two of the CHAMPAGNE PHILIPPE FOURRIER – PINOT MEUNIER BRUT (NV) – from Champagne in France and six of the SUTHERLAND ESTATE – 2023 SPARKLING TEMPRANILLO from the Yarra Valley, because according to F. Scott Fitzgerald, “Too much of anything is bad, but too much Champagne is just right.” Well, that’s my excuse and I’m sticking to it!

All of the exhibitors offered great deals for purchasing on the day. I’ve never understood why tastings sometimes don’t allow that, but at Bubbles Festival, you could take the wine with you on the day, or get it delivered later, which was ideal.
$5 from each ticket went to the Sacred Heart Mission, St Kilda. Natalie chooses a different charity to donate to in each of her state’s events.

It was a sunny 25degree day in Melbourne and I tasted some new and exciting Sparklings and Champagnes, met like-minded and vivacious souls, feeling the fresh bubble of life, therefore, I thoroughly recommend attending the Bubbles Festival.

Here are the other states’ Bubbles Festivals, coming soon:

Brisbane – 9 May 2026 – Get your tickets here!
Sydney – 22 & 23 May 2026 – Get your tickets here!
Adelaide – 6 June 2026 – Get your tickets here!
Perth – 20 June 2026 (TBC) – Join waitlist here!

To book tickets to The Bubbles Festival 2026, please visit https://thebubblesreview.com/the-bubbles-festival/.

Spread the word on your favourite platform!

Howl

Howl

Howl Rating

Click if you liked this article

The pamphlet guide to the Australian Chamber Orchestra’s new composition of works entitled Howl promises audience members “riot, rapture and release”. Ensconced within a beautiful wood-panelled studio situated in Walsh Bay, it was clear that those who sat down to see the first performance of this show were bearing witness to an intriguing and complex arrangement of music.

The show began with a rendition of a piece called Tooth and Nail, which involved a talented soloist skillfully wrangling his viola to an eerie and circular backing-track. To me, the piece was haunting and reminiscent of the feeling of chasing and being chased by something sinister. It was a piece that woke the audience up; a true skill for the musician to play this kind of music in a way that is suspenseful without being shrill.

Following the first piece, two more violinists and a cellist joined each other on stage, and the blue curtain behind them was at once lit up by a fluorescent green/pink background. This was in preparation for a piece entitled Tuggemo; my least favourite composition of all that were played. According to the guide, Tuggemo is a word that has fallen out of usage and means “a swarm of birds or flies”. It was clear the musicians were mastering their instruments, and perhaps the flurry of activity in the last portion of the piece was building into something sharper. However, when the piece ended abruptly, what was left seemed to be a confused purpose. It felt to me as if the purity that strings are capable of was being eschewed in order to replicate the impossible. However, I am not an experienced musician and the audience seemed to be okay with it, which may simply mean that something had been lost on me.

 

 

The third piece; Interference Patterns seemed much closer to its intent. When the green and pink lights fell away from the blue fabric of the curtain, it was as if the music had become orchestral and cinematic again, and the audience was taken to another place. The piece was foreboding and ominous while at other times clean and exquisite. The friend I had brought with me (who previously played as a classical violinist in her home country) said she loved it. To the question of why she liked it so much, she answered that it was ‘nostalgic; like something in the past but at the same time hasn’t been heard before’.

Interference Patterns set the tone perfectly for what was to come next; the piece the show is named after and which uncoincidentally shares a name with Allen Ginsberg’s infamous poem. The musicians playing Howl did well to capture the nightmarish intensity of the infamous work. It was sharp rather than chaotic and the strings were haunting but never sad. Particularly effective was the clarinetist, who commanded the room, and led the audience through what seemed to be a faultless performance. I felt that the music did not unravel in the same way the poem does, however technically and thematically, the notes were mastered by their respective musicians.

Following the end of the fourth piece, pianist Vatche Jambazian took to the stage to introduce himself as the musician playing Danny Elfman’s composition; Piano Quartet. He seemed to at once take command of the beautiful Steinway and Sons grand piano in the centre of the room to express himself through the music, rather than merely playing it. The animated performance provided music that was interesting, creepy and captivating.

And so, as a non-musician who loves music and knows it is for everyone, I can only review this performance from the honesty of my own lens. In this way, I think the collective attentiveness of the audience showed that they were grateful for being gifted with this experience. As an admirer of poetry, I would say that it is perhaps impossible to emulate the intensity of Ginsberg’s Howl without the words by which it expresses its sentiment. However, I am adamant in my judgement that the standalone performance here played out in the final piece; Piano Quartet. The pianist was a definitive and shining gift in the program, fully embodying its genre and showcasing inherent musicality.

3 ½ stars

To book tickets to Howl, please visit https://www.omegaensemble.com.au/howl.

Photographer: Gxbriellemxry

Spread the word on your favourite platform!

Waitress Australian Premiere In Melbourne This Week

Feature-WAITRESS

Broadway’s smash-hit musical WAITRESS has its Australian Premiere on Thursday night, 7 May at Her Majesty’s Theatre, Melbourne. Preview audiences have been effusive in their praise of the show, with heart-felt standing ovations each performance.

Tickets are on sale for both the Melbourne and Sydney seasons at waitressthemusical.com.au

“This inspiring show was a massive hit on Broadway where it played for almost four years, and was a huge success in the West End and across the world. And now WAITRESS has arrived in Australia,” said producer John Frost for Crossroads Live. “With its inspiring music by Sara Bareilles and universal themes of hope and resilience, WAITRESS has fast become a ‘must see’ musical. We have a sensational Australian cast, led by Natalie Bassingthwaighte, Rob Mills, John Waters, Gabriyel Thomas and Mackenzie Dunn, and preview audiences are loving this moving and original musical. Get your tickets now while you can.”

Leading the cast as Jenna is Natalie Bassingthwaighte (Chicago, Shirley Valentine), while Gabriyel Thomas (Cats, Sister Act) and Mackenzie Dunn (Grease, Annie) play Becky and Dawn, Jenna’s coworkers at the diner. Charismatic star of stage and screen Rob Mills (& Juliet, Wicked) is Dr Pomatter, and legendary actor John Waters (Jesus Christ Superstar, Oliver!) plays Joe, the owner of the diner. Keanu Gonzalez (Annie, West Side Story) is Earl, Gareth Isaac (Elf the Musical, Mary Poppins) plays the role of Ogie, John Xintavelonis (The Wizard of Oz, The Lion King) plays Cal, and Annie Aitken (Guys & Dolls, The Sound of Music) is the Jenna Alternate.

The ensemble and swing cast comprises Cameron Boxall, Alexandra Cashmere, Ethan Jones, Dwayne P. Mitchell, Joseph Naim, Conor Neylon, Belle Parkinson, Emily Robinson, Elandrah Tavares, Bree Tipoki and Stephanie Wall. Lulu is played by Stevie Denton (5 years old, from North Warrandyte), Lola Inman (5, from Langwarrin), Ruby Marshall (5, from Port Melbourne) and Evie Papas (6, from Templestowe).

Inspired by Adrienne Shelly’s beloved film, and brought to life by a trailblazing female-led creative team, including a book by acclaimed screenwriter Jessie Nelson, an original, uplifting score by Grammy winner Sara Bareilles (Love Song, Brave) and direction by Tony winner Diane Paulus, WAITRESS is the irresistible Broadway hit about resilience, friendship and hope that has captured hearts worldwide.

This heartwarming and empowering musical tells the story of Jenna, a small-town waitress and expert pie maker who longs to escape her rocky marriage and start again. When a baking contest, an unexpected new romance and the support of her fellow waitresses offer her a taste of change, Jenna discovers that the secret ingredient to happiness might be closer than she ever imagined.

“Treat yourself to a slice of 5 Star musical pie” – The Times
“Sweet, sassy, passionate & delightful!” – New York Magazine
“Simply delightful! A glorious reminder that life is messy and wondrous!” – The Washington Post

WAITRESS made history on Broadway with the four top creative spots in a show being filled by women – Sara Bareilles (music and lyrics), Jessie Nelson (book), Lorin Latarro (choreography) and Diane Paulus (direction). It opened on Broadway in April 2016 at the Brooks Atkinson Theatre, where it ran until January 2020. WAITRESS was originally produced by Barry & Fran Weissler and Norton and Elayne Herrick.

Sweet, sassy and soul-stirring, WAITRESS is “a little slice of heaven” (Entertainment Weekly) and “made from the finest ingredients” (Time Out). It’s a feel-good celebration of second chances, and the magic of a well-made pie.

Everyone deserves a slice of happiness!

MELBOURNE SEASON DETAILS
Venue: Her Majesty’s Theatre
Season: To 19 July
Performance Times: Tue-Thurs at 7pm, Fri-Sat 7:30pm, Wed 1pm, Sat 2pm, Sun 1pm, 3pm or 6pm (performance times vary each week)
Prices: From $69.90 (Transaction fees apply)
Bookings: waitressthemusical.com.au or phone 13 28 49
Groups 8+ call (03) 9662 9571

SYDNEY SEASON DETAILS
Venue: Sydney Lyric Theatre
Season: From 1 August
Performance Times: Tue-Thurs at 7pm, Fri-Sat 7:30pm, Wed 1pm, Sat 2pm, Sun 1pm, 3pm or 6pm (performance times vary each week)
Prices: From $69.90 (Transaction fees apply)
Bookings: waitressthemusical.com.au or 136 100
Groups 8+ email groups@ticketmaster.com.au

 

Spread the word on your favourite platform!