Samson

Samson

Samson Rating

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8

Samson, the stunning debut production from Luminar Theatre Company, opens with a hauntingly beautiful performance of Nick Cave’s ‘O children.’ From the very first notes, I had goosebumps over my entire body; from the first scene to the very last Samson had me utterly entranced.

Samson centres around a group of teenagers in a small seaside town, who are grieving the sudden loss of a friend they’ve known their whole life when he dies tragically and unexpectedly in an accident. Julia- Rose Lewis’ script is visceral, raw and brimming with vulnerability and emotion, masterfully brought to life with sensitivity and zeal by director Chloe Callow.

It’s difficult to believe that Samson is Chloe Callow’s debut production as a theatre director. Everything about this production, from its striking visuals to its beautifully tempered emotionality, was perfectly curated. With a debut production of this quality, I’m eager to see what Callow has in store for the future.

The cast brought boundless energy and a grounded authenticity to the characters, as well as an unexpected but welcome dose of humour. Samuel Ireland was brilliant as Sid, bringing a marvelous complexity to a character that, in the wrong hands, might have just been dismissed as a bully. Ireland’s performance was deeply moving, his moments of humour landing perfectly with spot-on comedic timing.

 

 

Ava Jones’ portrayal of Beth was perfectly delivered- her grief felt so raw and genuine, and her character’s complicated relationship with God and religion was a fascinating exploration on the theme of spirituality and faith, and the ways in which belief can be both a comfort and a weapon in times of grief.

Henry Lopez Lopez is a brilliant ball of energy as Rabbit, equal parts sparkling vivacity and striking vulnerability. His chemistry with Rhiannon Jean as Essie was perfect. Jean’s performance was deeply emotional, and her journey is, in many ways, the heart of the show. Lopez and Jean both also deserve an honourable mention as the show’s producers.

Samson is carried by spectacular performances and thoughtful direction, and the production is full of little touches that really make it sing. Max Shaw’s set design beautifully captures the essence of a small town, and his work as fight choreographer elevates the dramatic scenes beautifully. Rhiannon Jean also did some incredible work as sound designer, adding a polish and dimensionality to the show.

The most wonderful thing about Samson is how life affirming it is. It’s a story about grief, but within that, it’s a story about resilience. The experience of watching Samson was deeply affecting- I laughed, and I cried (a lot) but I left feeling uplifted. I highly recommend seeing this production as soon as possible- Samson is one not to be missed.

Samson, presented by Luminar Theatre Company, is on at The Greek Theatre in Marrickville until October 11th.

To book tickets to Samson, please visit https://www.eventbrite.com.au/e/samson-tickets-1564791747239.

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Interactive Storytelling Once Upon a Grimm Night

Once Upon a Grimm Night

Once Upon a Grimm Night Rating

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5

Picture this. It’s 8pm and you’re driving through a forest. It’s pitch black, except for the beam of your headlights cutting through the stillness. Lining one side of the single gravel road, silhouettes of inky branches reach over, like fingers beckoning you to continue to the house. Old Government House in Parramatta, Sydney. I have to shake off thoughts of ghoulish entities and murderous strangers hiding in the shadows! Maybe my imagination had run awry because we’d just entered Halloween month. Most likely though, it’s because I was on the way to see Once Upon a Grimm Night, an interactive play by Odyssey Theatre! Just the title had scary connotations.

I need not have worried, because I arrived safely and in one piece at Old Government House’s door. After we were greeted by The Narrator, it became clear that in Once Upon a Grimm Night, guests were adventurer travellers and not hapless victims, and this was going to be a live theatre experience with tons of humour, not horror.

Once Upon a Grimm Night is the brainchild of Emily McKendry, who wrote and directed the play. Emily says that her love of all things magical and fantastical inspired her to write about characters from the fairy tale realm. Once Upon Grim Night is set in the world of Everafter, and due to cosmic forces, our world and theirs have crossed for a short time, and we needed to help find a special something.

The Narrator, played with delicious relish and cheeky trickery by Jared Gerschwitz, was a chaos-loving mischievous character who reminded me of Loki with wicked laugh. He guided us in a quest to save Everafter, introducing the wayfarer travellers along the way to the other characters.

We first met Cly, AKA The Maiden, in the garden playing with a frog. Cly had an earnest innocence about her. I loved the way Phoebe Lumley Tow portrayed Cly, who was quick to deliver some very funny lines in response to audience participation . As Cly started singing, I had the impression that she was channelling Snow White, or Cinderella, or any another female stereotypical female fairytale character (which I think may have been the point).

 

 

The third character whose namesake is in the title, is Grimm Volkov, resident Everafter’s hero / heartthrob with fabulous fairytale prince-like hair. Grimm is played with a natural charm by Harlee Timms. Grimm assisted us travellers (or, “Princes” as he nicknamed us all) in the quest to find what we needed to save the realm.

Grimm led us to meet The Witch, a character who we could not help but warm to because of her sarcastic yet hilarious humour. Emily McKendry portrayed The Witch, and her spin on this character was unique. She wasn’t really an evil wicked witch as fairytale land stereotypically paints witches to be. Emily was quick to improvise answers with funny quips and respond to our questions, making us feel comfortable in her dark and dank basement. One of the highlights of the performance was held in the basement, where The Witch chose different audience members / travellers to interact with the magic potions to uncover a mystery.

The set up of Once Upon a Grimm Night is very original, with physical puzzles for us travellers to discover and solve in certain rooms. The Narrator was there to encourage us to work together and to ensure that most guests had a turn.
The costumes of all the characters added to the fairy tale feel. The cast had taken care to ensure their characters looked the part, right down to little details like the jewellery they wore, (especially The Narrator’s extended silver sharp finger ring) waist belts, corsets, billowy sleeves and black boots.

Odyssey Theatre selected the heritage-listed Old Government House as a fitting location for their performance. It was a former country residence, home to Governors and their families from 1800 to 1847. The play was performed both outdoors and indoors, allowing the audience to explore the rooms and experience a set that matched the story. The performance lasted one hour, though I would have liked more time to explore the house and its rooms.

Once Upon a Grimm Night was a unique and enjoyable experience. The small group I attended with was lively, and there was a lot of laughter throughout the evening as the audience banded together to solve puzzles. The interactive nature of this play would be an excellent opportunity for companies to bring their staff together for bonding. With the holiday season coming up, it would make a fantastic choice for an end-of-year Christmas party. Whether you go solo or with a group of friends, it is certainly worth taking a trip into Everafter where you can enjoy a hands-on potion-making activity and take part in clue-solving challenges that are perfect for clue finding sleuths.

Season run: Friday 3 October – Saturday 25 October. 3 session available at 5.30pm, 7pm and 8.30pm
Duration: One hour, no intermission
Old Government House. Parramatta Park, Pitt St entrance. Limited parking is available nearby.
Tickets: www.odysseytheatre.com.au/once-upon-a-grimm-night-parramatta

To book tickets to Once Upon a Grimm Night, please visit https://www.odysseytheatre.com.au/once-upon-a-grimm-night-parramatta
.

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No Day Like Today to See Rent: The Musical

Rent

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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RUINS / أطالل 

Ruins

Ruins Rating

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9

RUINS / أطالل 

Ruins / أطالل at the Seymour Centre is a stunningly realised masterpiece of movement from Clockfire Theatre Company, devised by Emily Ayoub and Madeline Baghurst.

The play was described by the creatives as a love letter to Lebanon and the Arab Diaspora, and it’s clear from the very first seconds of the play that the love runs deep. Ruins / أطالل creates an utterly beautiful depiction of a deeply human story that at times conveyed the liveliness and beauty of Lebanon and then, at other times, took an unflinching look at the realities of war. 

Ruins / أطالل is one of the most important and relevant pieces to come to life in the current Australian theatre landscape. It’s a powerful story, exploring the complexities of grief and family, migration and sacrifice, and the power of memory. The subject matter is handled with sensitivity and emotion, creating a story that feels authentic and honest. 

Amelia is grieving the sudden loss of her father, and takes a solo trip to Lebanon that they’d planned to take together. Alongside her journey, we see her fathers last trip to Lebanon as a young man, and see how their stories intertwine in an intensely emotional journey through time and place. 

 

 

Ruins is brought to life by an incredible cast of actors that deserved every second of the standing ovation they received at the end of the play. Randa Sayed is an emotional powerhouse as Amelia, delivering an incredible performance full of vulnerability and power. Moments of humour perfectly balance the grief, delivered with perfect comedic timing by Adeeb Razzouk and Piumi Wijesundara, both of whom were able to switch deftly between humour and heartbreak at a moments notice. Tony Poli brings a groundedness and charm to his character with a remarkable performance. Youssef Sabet is spectacularly energetic, carrying his roles with ease, and Madeline Baghurst displays some of the best movement work I’ve ever seen.

Movement drove every minute of this play and created a world that invited the audience to connect. The ensemble created worlds with their movement, and had a synchronicity onstage that felt almost musical.

The set is stripped back and immediately intriguing, bursting with dimension. The raised stage is removed, making the most of the space and creating a sense of the vast in the intimate theatre space. Sheer fabric with rounded archways cut out of them pair beautifully with video projections to create a vivid environment that brings the story to life without distracting from the main elements of the story. Transformation is a key part of the genius of this set design, with minimal props and set pieces inventively used to convey a multitude of spaces. 

Projections and music were beautiful accompaniments to the action onstage, and the live flute performances were a gorgeous addition to the beautifully designed soundscapes. 

The language was a beautiful mix of English and Arabic, that elicited the sense of musicality within the language. Projected subtitles make it accessible for non- Arabic speakers, but even the scenes that weren’t given subtitles felt accessible through movement and tone. 

Ruins / أطالل is exquisitely moving, and utterly devastating, full of flawlessly executed movement pieces, creating something transcendently beautiful. 

Ruins / أطالل is playing at the Seymour Centre until October 18th.

To book tickets to Ruins, please visit https://www.seymourcentre.com/event/ruins/.

Photographer: Geoff Maggee

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