Nostalgic, Hilarious, Infectious Fun for Fans Old and New!

Stranger Sings! A Parody Musical

Stranger Sings! A Parody Musical Rating

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The Eternity Playhouse Theatre in Darlinghurst is a perfect blend of plush red velvet and modern design, creating a space that feels rich with history, despite modern touches. To the side of the stage, a small band waits eagerly, giving that unique thrill only live musical theatre provides. Early show wrinkles were handled with humour and camaraderie, immediately setting the tone for a show that thrives on both chaos and connection.

Stranger Sings! The Parody Musical is exactly what its title promises: a satirical, joyfully camp reimagining of Stranger Things. Across 90 minutes, Hawkins is gleefully turned upside down, with the iconic core four; Mike, Lucas, Dustin, and Will; at the story’s centre. Each young performer captures their role with razor-sharp comic nuance. Raven Swinkels gives Eleven both haunting presence and playful edge, while Anouk Macarthur Mitchell leans into Will’s fragility with endearing self-parody. Julien Daher’s winning Dustin brims with charisma, Ruben Aguilera hits the mark as earnest Mike, and Jahzara Mariasson brings fiery energy to Lucas.

And then, of course, there’s Barb. Belle’s powerhouse vocals ensure justice is not just served but belted to the back row, a standout that lit up the night. The wider ensemble provide a constant stream of physical comedy and energy, morphing into bullies, scientists, and perhaps most memorably, a gloriously camp Demogorgon. Together, their knack for timing and willingness to push into parody’s extremes kept the show fizzing with momentum.

 

 

The production is deliberately low-fi in its design, which only adds to its charm. Simple staging is enlivened with clever costumes, witty choreography by Anna Jaques, and inventive ensemble work that makes even the scene changes cheekily entertaining. Musical director Mitch Brown guides the band through a synth-heavy score that perfectly skewers the 1980s vibe, layered with inside jokes and knowing winks to pop culture.

Vocally, the cast are outstanding. Occasional mic issues threatened clarity, but the performers carried through with enough charisma and vocal strength that the cracks only showed how strong the foundations were.

What elevates Stranger Sings! beyond parody is its cheeky breaking of the fourth wall. These playful intrusions make the audience co-conspirators, reminding us all that this is both fan satire and affectionate send-up. Even for those of us who lost track of the show past season three, the humour lands. The references are sharp enough for superfans, yet broad enough to keep casual viewers grinning throughout.

Above all, the joy radiating from this young cast is infectious. They aren’t just parodying Netflix’s most nostalgic property; they’re celebrating the simple delight of putting on a show with gusto, fearlessness, and a palpable sense of fun. To see so much future talent unified in delivering something this funny, smart, and warm is a treat, and a reminder that Sydney’s next wave of performers is already here.

Did I want to leap onto the stage to join them? Absolutely. And that’s the upside-down magic of Stranger Sings!: a parody that revels in its chaos, and a cast that makes you want to be part of the ride.

To book tickets to Stranger Sings! A Parody Musical, please visit https://sydneyfringe.com/events/strangers-sings-the-musical-parody/.

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Broadway Smash Hit Musical RENT Opens THIS WEEK

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“Faultless. Flawless. Amazing. Perfect… A MUST SEE” – Broadway World

The musical that rocked Broadway is back, and making its debut this week at the Joan Sutherland Theatre, Sydney Opera House, RENT plays for five weeks only from 27 September until 1 November.

Jonathan Larson’s exhilarating, multi-Tony® Award winning RENT takes audiences to the vibrant streets of New York City’s East Village in the early 90’s, where young people navigate poignant social issues and dreams are born, friendships are tested, and the power of love prevails against all odds.

Featuring the iconic songs Seasons of Love, Take Me or Leave Me and La Vie Bohème, this groundbreaking phenomenon, inspired by Puccini’s La Bohème, is more than a musical; it’s a celebration of love, life, art and the resilience of the human spirit.

The electrifying cast for RENT includes Henry Rollo (The Rocky Horror Show) as Mark, a struggling documentary filmmaker and best friend of Roger, an HIV-positive musician recovering from heroin addiction, played by Harry Targett (Dear Evan Hansen). Kristin Paulse (Tina The Tina Turner Musical) is Mimi, a reckless and passionate exotic dancer who lives only for today. The Voice finalist Calista Nelmes (Jesus Christ Superstar) reprises her award-winning performance of the spirited Maureen, current girlfriend of Joanne, a tough, headstrong Harvard-educated lawyer played by Imani Williams (Hadestown).

Philosophy teacher Collins, father-figure and friend, is played by Googoorewon Knox (Hamilton) with Jesse Dutlow (& Juliet) as Angel, an HIV-positive drag artist with a passion for life in the face of inevitable adversity. Benny, played by Tana Laga’aia (Jesus Christ Superstar), is the former friend and current landlord of Mark, Roger and Mimi.

Completing the cast are Anna Francesca Armenia, Kobe Brown, Sam Harmon, Lawrence Hawkins, Carmel Rodrigues, Chad Rosete, Eliza Soriano, Stacey Thomsett, Bree Tipoki and Theodore Williams.

Jonathan Larson’s RENT opened Off-Broadway in 1996 and quickly became a global phenomenon. The show earned Larson multiple Tony® Awards along with a Pulitzer Prize for Drama, a distinction not received again by a music theatre work until 14 years later. Though Larson himself never saw the impact of his masterwork – he died suddenly in the early hours of the day the show opened to the public – its longevity serves as a testament to the emotional resonance of his creation and an embodiment of its ever-present message “no day but today”.

Book now for RENT at the Sydney Opera House – there’s No Day Like Today to get your tickets!

www.rentmusical.au

@RENTMusicalAU #RENTMusicalAU

Book, Music and Lyrics by
Jonathan Larson

Musical Arrangements
Steve Skinner

Original Concept/Additional Lyrics
Billy Aronson

Music Supervision and Additional Arrangements
Tim Weil

Dramaturg
Lynn Thomson

Creatives

Director Shaun Rennie
Music Director Jack Earle
Choreographer Luca Dinardo
Set Designer Dann Barber
Lighting Designer Paul Jackson
Sound Designer Evan Drill
Costume Designer Ella Butler

Cast

Angel Jesse Dutlow
Collins Googoorewon Knox
Benny Tana Laga’aia
Maureen Calista Nelmes
Mimi Kristin Paulse
Mark Henry Rollo
Roger Harry Targett
Joanne Imani Williams

Featured Ensemble
Anna Francesca Armenia
Kobe Brown
Sam Harmon
Lawrence Hawkins
Carmel Rodrigues
Eliza Soriano
Stacey Thomsett
Theodore Williams

Onstage Cover Chad Rosete
Resident Choreographer & Onstage Cover Bree Tipoki

Venue
Joan Sutherland Theatre, Sydney Opera House

Season
27 September – 1 November

Bookings
www.opera.org.au or 02 9318 8200

Tickets
Adult tickets start at $49. (fees may apply)
A Reserve $139
Premium Reserve $189

Group bookings of 4 or more discounts available

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She Threaded Dangerously

She Threaded Dangerously

She Threaded Dangerously Rating

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The small, intimate Old Fitz theatre seemed like the perfect place to premiere She Threaded Dangerously, a bold new play by Simon Thomson and Emma Wright. The story follows four friends in an all-girl’s High School as they navigate the complicated dynamics of friendship, loyalty, and supressed desire, blinding them to the dangers around them.

The ensemble story jumps between each of the four girls as they wrestle with adolescence, sexual desire, and power dynamics, often putting them in conflict with each other. At the centre is a substitute male P.E. teacher some of the girl’s find attractive and dare each other to flirt with. They invite two boys from their twin all-boys school to a private party to drink and flirt, sparking rivalries and division. While skipping class, one of the girl’s meets an adult jogger who calls her an old soul. He strikes up what she believes is just friendly banter that makes her feel seen. Claiming to be a police officer, his manipulative grooming from a position of trust and power is uncomfortably insidious. The male characters balanced each other a little too obviously, with the two younger characters, and two older characters, each a pair of contrasting expressions of masculinity and authority put into conflict with the girls.

 

 

The story felt rushed, often moving along at such an exhausting pace it was hard to follow the banter being thrown around between the girls. Sometimes their screaming and yelling was a bit too loud for the tiny Old Fitz theatre and my ears were bleeding. Much like a High School, I guess. While the deeper themes are dark and uncomfortable, the various story threads could have used more depth or be taken in a surprising direction. Once you knew where each story was going it was predictable.

Karrine Kanaan, Alyssa Peters, and Larissa Turton do a great job as the girls, along with Claudia Elbourne, who also directs. Each embodied their characters convincingly, as did the supporting cast of Hamish Alexander, Michael Yore, and Leon Walshe. I particularly liked the sound design by Alexander Lee-Rekers, who created an intense soundscape mixed with music that reinforced the drama and chaos. Laila McCarthy’s set also worked beautifully in the limited space, using only a few carefully selected props and set pieces to craft a variety of locations that leaned into the power of theatrical imagination.

She Threaded Dangerously is an uncomfortable yet important exploration of teenage girls navigating a complex world of desire, power, and friendship, currently playing at the Old Fitz Theatre as part of the Sydney Fringe Festival until the 27th of September.

To book tickets to She Threaded Dangerously, please visit https://www.oldfitztheatre.com.au/she-threaded-dangerously.

Photographer: Karla Elbourne

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Menopause: The Musical

Menopause The Musical

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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