Co-Founders Nathan M Wright and Andrew Bevis (The Addams Family, The Prom) today announced that the hit Broadway musical Tootsie will make its highly anticipated Australian premiere this May at Teatro at the Italian Forum in Sydney. The production further cements the company’s reputation for bringing acclaimed international premieres and blockbuster musicals to Australian audiences. Award-winning director and choreographer Cameron Mitchell (Putting It Together, Sweet Charity) will helm the production, as rehearsals begin this week for The Prom. Tickets for Tootsie are on sale now at www.teatroitalianforum.com.au. Described by The New York Post as “Broadway’s funniest new musical” and praised by Rolling Stone as “musical comedy heaven”, Tootsie is the laugh-out-loud story of a talented but difficult actor who struggles to find work until one show-stopping act of desperation lands him the role of a lifetime.
Director Cameron Mitchell said “Tootsie is the perfect feel-good musical for everyone. It has all the nostalgia of the 1982 Sydney Pollack film starring Dustin Hoffman with a hilarious new book and dazzling score. I am very excited to work with the team at Teatro and bring this brand-new show to Sydney audiences. Tootsie is laugh out loud funny, with a lot of heart and great song and dance numbers. Can’t wait!”
Based on the Oscar winning beloved hit film starring Dustin Hoffman, the Tony Award Winner for Best Book of a Musical, Tootsie also received 11 Tony Award nominations, including Best Musical and Best Original Score. With music and lyrics by Tony Award & Grammy award-winner David Yazbek (The Band's Visit, Dirty Rotten Scoundrels) and book by Tony Award-winner Robert Horn (13 the Musical, Shucked), Tootsie has had audiences rolling in the aisles.
Fast-paced and outrageously funny, Tootsie plays with identity, ambition and ego, all while keeping the laughs coming.
Tootsie makes its Australian premiere in Sydney at TEATRO from 26 May. www.teatroitalianforum.com.au
TOOTSIE From 26 May Venue: Teatro at the Italian Forum, Norton Street, Leichhardt Performance Times: Wed-Thurs 7pm, Fri-Sat 7.30pm, Sat 2pm, Sun 1pm & 6pm Prices: $75 for previews Tue 24 – Thu 26 March (a handling fee of $6.95 per transaction applies) From $85 for remaining dates (a handling fee of $6.95 per transaction applies) Bookings: www.teatroitalianforum.com.au
Teatro is Sydney’s newest creative hub for the performing arts, located in the heart of Leichhardt at the iconic Italian Forum. With a focus on community engagement, emerging talent, and world-class productions, Teatro aims to be a vibrant gathering place for artists and audiences alike. Under the leadership of Nathan Wright and Andrew Bevis, Teatro will continue to build on the venue’s rich history while ushering in a new era of creativity and cultural exchange. Recent productions include The Addams Family, Santa Claus with rehearsals of the Australian Premiere of The Prom currently underway.
Producer John Frost for Crossroads Live today announced the stellar cast for the Australian Premiere of Broadway’s smash-hit musical WAITRESS, which will light up Her Majesty’s Theatre Melbourne from 1 May, and the Sydney Lyric Theatre from 1 August. Tickets are now on sale at waitressthemusical.com.au.
Leading the cast as Jenna will be 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) will play Dr Pomatter, and legendary actor John Waters (The Woman in Black, Play School) will be Joe, the owner of the diner.
One of Australia’s most popular leading ladies of stage and screen, Natalie Bassingthwaighte will play Jenna, an unhappily married waitress in a small US town. Natalie’s music career has seen her achieve acclaim as one of only twenty Australian solo female artists to reach Number One on the ARIA Album Charts with her solo album, 1000 STARS. She has enjoyed international success as front woman of The Rogue Traders, achieving multi-platinum sales across two albums, as well as two APRA nominations, an MTV award win and seven ARIA nominations. Most recently lauded for her performance on stage in the title role of last year’s Australian tour of Shirley Valentine, Natalie has created many memorable characters on stage including Roxie in Chicago, Mary-Jane in Alanis Morissette’s Jagged Little Pill, Sandy in Grease and Florence Vassy in Chess. Her work on television includes the original host of So You Think You Can Dance, judge on The X Factor, and competing alongside her sister Mel on The Amazing Race.
Direct from her acclaimed performance as Grizabella in the national tour of Cats, the role of Becky, the irascible waitress with a wicked sense of humour, will be played by Gabriyel Thomas. Gabriyel’s other credits included Michelle and sometimes the lead role of Deloris Van Cartier in the Australian tour of Sister Act, The Sound of Music, Ragtime and the Australian and US tours of Hairspray.
Most recently seen on stage as Lily St Regis in the Australian tour of Annie, Mackenzie Dunn will be Dawn, the eccentric youngest waitress at the diner. Mackenzie has also played Rizzo in Grease, Penny Pingleton in Hairspray, Squeaky Fromme in Assassins, Francine in Jersey Boys, Evelyn Nesbit in Ragtime, Bubba in Summer of the Seventeenth Doll and understudied and performed the role of Princess Fiona in the Australian tour of Shrek.
Charming stage and screen star Rob Mills will be playing Dr Pomatter, Jenna’s endearing but neurotic gynaecologist. Rob has had celebrated roles in musicals including & Juliet, Wicked, Hairspray, Ghost, Jesus Christ Superstar and Grease, and on screen in Neighbours, Winners and Losers, Dancing With The Stars and the 2025 season of The Amazing Race Australia: Celebrity Edition.
As Joe, the curmudgeonly diner owner who has a soft spot for Jenna, will be stage icon John Waters. With a career spanning over 50 years, John is well known for lead roles in the film Breaker Morant and the television series Rush, All the Rivers Run, Rake and his 20-year run on Play School. His prolific stage work includes Hair, Godspell and Jesus Christ Superstar in the 1970s, through to the musicals The Rocky Horror Show, They’re Playing Our Song opposite Jackie Weaver, The Sound of Music opposite Lisa McCune and most recently the thrilling play The Woman in Black.
“I’m overjoyed to announce this extraordinarily talented cast. They will beautifully bring to life the delightful characters in this original and inspiring production,” said John Frost. “WAITRESS 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. WAITRESS has become a ‘must see’ musical, with its memorable music by Sara Bareilles and universal themes of hope and resilience. Get your tickets now to enjoy this life-affirming show.”
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.
If only life were as easy as pie…
WAITRESSTHEMUSICAL.COM.AU
MELBOURNE SEASON DETAILS Venue: Her Majesty’s Theatre Season: From 1 May 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
Cheryl Butler has directed Christopher Durang’s “Vanya and Sonia and Masha and Spike” excellently, delivering a night of theatre from Arts Theatre Cronulla that is both funny and sweet. A family (and the people in their orbit) descend on a Pennsylvania farmhouse over a weekend, and end up exploring the frustrations and search for meaning that aging in our rapidly-paced world induces. The play is littered with Chekov references, but even for a Chekov novice like this reviewer, there were things to connect to and laughs to be had. To draw humanity from characters making what are (often, throughout the show) dubious or childish decisions, takes a skilful hand, and Butler has done it with aplomb.
The ensemble cast are a delight, with each finding the light and shade in their characters. Michael Barlow gives Vanya a still and quiet depth, which gives real weight to moments where he voices his frustrations and desires. The excellent hair and makeup to turn Barlow into a believable 57 year old is paired with subtle physical choices that mean his struggle feels very real, and his grumbling is forgiven.
The high points of emotional investment from the audience came from across the cast, but the one that drew out audible exclamations was Lynda Leavers’ Sonia alone onstage taking a phone call; all the squabbling and self-doubt and tension that Sonia has been part of until that point is honoured and explored, and we saw Sonia begin a new chapter of her life in that moment. Leavers did an excellent job throughout.
Suzy Wilds as Masha is the energetic core of the show; Masha is a bit of a whirlwind of both personality and emotion, and Wilds’ performance means you also care about her, even with her strops and vanity. Masha’s physical presence in the farmhouse and in relation to the others shifts the air around her; a lot of great comedy and genuine regret and longing are brought into the open through the magnet of Wilds’ Masha.
Angela Gibson, who is consistently excellent in ATC productions, imbues Cassandra, the witchy fortune-telling house keeper, with flowing movement. Her timing made for some of the comic highlights of the show. Tamara O’Rourke gives the plucky girl next door Nina a real heart, and makes it clear how smart this character is from the start. The voice she gives Nina is wise beyond its years, which gives real comedy to the interactions with Samuel Chapman’s bouncy and oblivious Spike. Spike has some of the most out and out gags, and Chapman does well to give hints of the additional layers (good and otherwise) of the pretty-faced boy Masha brings to the house.
All the elements of this production are skilfully done. The set design from Cheryl Butler and Michael Gooley is full of clever details; a glimpse of the cherry orchard through the window, and a calm green-walled setting for the meditative moments and playfulness this play contains. The set construction team has done an excellent job at transforming the space, setting us believeably in a rural setting, assisted by Craig Oberg’s lighting design. The stage management and changes are all done smoothly and imperceptibly, which is a credit to the work of stage hand Kathryn Bray and stage managers Michele Potter and Ann Sayegh. Gary Clark’s sound design is similarly subtle and lovely, and timing is perfect for any moments that come to the fore as part of scenes.
Costuming was excellent in this show - whether its Nina’s consistent palette of white and blue carrying into her fancy dress or Sonia’s transformation from wallflower to movie star in a scene, Carol Smith and Lesley Tinker have nailed the characters’ energy in the choices they’ve made about their clothes. Masha’s floaty caftans contrast with Spike’s sneakers and constant stripping to his underwear in a way that underscores their dynamic perfectly, and the pyjama-clad dynamic between Vanya and Sonia that begins the play sets the tone of the whole piece; homely, thoughtful and sweet.
This is another strong production from Arts Theatre Cronulla, who seem to have a knack for picking interesting work and creating productions that are dripping with both heart and humour, delivered with skill and verve.
If the Sydney theatre scene’s obsession last year was clowns, this year it seems to be cowboys. But God’s Cowboy isn’t really about the wild west. Instead, this intimate, explosive play takes us much closer to home.
Peter (Nathaniel Savy) has been a performer for his entire life, particularly fond of movie musicals and old cowboy films. When he books a part in a show with his sister (Sophia Laurantus as Penny) he quickly finds his cowboy dreams are starting to come true in an entirely new way. Daniel, a very broken and very suave outlaw type has rolled into town to do the show, and although tormented by his sadistic ex boyfriend Demetrius, Peter and Daniel begin to attempt to explore what healing could look like with each other.
This play at its core is about unstable relationships. Queerness can often be trivialised, oversexualised or infantilised, never allowed to be as messy or complicated as heterosexual relationships are. In that respect, the play is refreshingly blunt about what trauma does to your relationships. The design of the show reflects this: black and red costuming, and staging never quite in bright, warm light.
The cast puts in honourable performances across the board. Max Fernandez is a charismatic performer, and although became demonstrative at points, shined in the more uncomfortable tragic parts of the show. Nathaniel Savy brought genuine queer humour into the text, and when he leaned into the absurdism of the world around him, he was a joy to watch. Sophia Laurantus is very likeable on stage, and had the strongest emotional range on stage, although her stage time was tragically short. Tate Wilkinson Alexander shone as the screwed up sleazebag, and although has a habit of leaning into a monotone delivery, when required, was often a scene stealer - especially in moments of stunt work or massive emotional delivery.
The weakest link in this show is unfortunately the text. Although Ella Morris (director) and her cast have put in clear effort across the board to create something interesting, the text dips into cliche often, and is unclear - especially through the first act. The strongest points were when the script fully leaned into how ridiculous it wanted to be, aided by the hopped up performances of the cast, and overall the second act was significantly stronger. Morris’s effective direction has clearly worked hard to soften some of the script’s weaker points, but it has required the cast to in many ways keep the show up by themselves.
God’s Cowboy is an interesting look into the darker side of queer relationships - an optimistic take on the idea that someone doesn’t have to be in your life forever for them to matter. In many ways, this is particularly important as scrutiny on the queer community comes to an all time high in decades, showing the world that even though perhaps not all queer relationships are perfect, they are as human and as important as everyone else’s.
