Don't Panic! (It's Happened Before)

Don't Panic (It's Happened Before)

Don't Panic (It's Happened Before) Rating

★★★★★

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This one-man show is worth seeing purely for the energy and presence of Sam Bowden, its writer and star. The Old Fitz theatre space, downstairs from an excellent pub of the same name and consistently bold and ambitious in its programming, is a perfect fit for this rambling show. “Don’t Panic! (It’s Happened Before)” is closer to a three-drinks-deep conversation than traditional theatre piece, but holds the house’s attention (with both some risky commentary and excellent comedy) for the entire journey.

Bowden doesn’t leave the stage at any point, and in the opening fifteen minutes it feels miraculous that he can catch his breath. Even the premise is ambitious; we begin with the history of human kind and speed-run to the unknowable (and somehow predictable) future. His physicality elevates this show from being an unusual stand-up routine into something with more meat. At the highest velocity moments of the show there were sparks flying everywhere as a disheveled captain steered us through war, plague and queer detours at pace.

 

 

Any piece with brave hopes will inevitably not land every trick, and while Bowden acknowledges his euro/western-centric lens at the top, some of his more sweeping conclusions feel like they could be dismantled by the expansion of that lens. That said, the best answer or counter to this within the show is when he wisely and deftly brings the focus to a micro level, unpacking photos from his own life and vast complexities that run through our personal histories as well as our collective ones. There is a strong enough vein of compassion running through the show that any points of discomfort or disagreement from the audience with the confident tales of our life being shared on stage were brief, and not ruinous to the audience leaning in to all we were hearing rather than away.

There are genuine belly laughs and some persuasive insights amongst quips and the scattered apartment set complements the energy perfectly. The use of PowerPoints and whiteboards, scrunched up papers and marker-drawn horsemen of the apocalypse helps thread the varied directions of this show together. There is a core of hope here, despite all the violence and death forewarned in the beginning. Izzy Morrissey’s lighting design gives a crispness to both the staging and sections of the show, adding a theatricality that elevates it.

This is a well executed piece, full of heart. Both Sam Bowden’s performance and writing, and Artie Gallagher’s direction allow the humanity and humour to shine in a densely written one man show. It closes tonight and is worth a visit!

To book tickets to Don't Panic (It's Happened Before), please visit https://www.oldfitztheatre.com.au/dont-panic.

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Waitress Is Coming To Melbourne Next Year

Feature-WAITRESS

Producer John Frost for Crossroads Live today announced that Broadway’s smash-hit musical WAITRESS will be baking its way to Melbourne in 2026. The inspiring musical from pop sensation Sara Bareilles will open at Her Majesty’s Theatre in May, prior to a season at the Sydney Lyric Theatre from August 2026. Waitlist now to be first in line to buy tickets for the Melbourne season at WaitresstheMusical.com.au.

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.

“It’s been a dream of mine to see WAITRESS (finally) find its way to Australia,” said Sara Bareilles. “This story is about dreams, friendship and the courage needed to learn to love oneself, which feels so universal, and so timely. Over the years we have witnessed such an incredible embrace of this show, and I’m so proud to be a part of the team that is bringing you something so full of heart and soul. I’m so excited for Melbourne and Sydney audiences to experience WAITRESS.”

“I’m thrilled to be this original and inspiring production to Australia,” said producer John Frost for Crossroads Live. “WAITRESS became a massive hit on Broadway where it played for almost four years, receiving four Tony nominations and six Drama Desk nominations, as well as many other awards and nominations. It had a return season on Broadway, played the West End from 2019, toured the US three times, and was a huge hit in many countries across the world. WAITRESS has become a ‘must see’ musical, with its memorable music by Sara Bareilles and universal themes of hope and resilience.”

“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…

MELBOURNE SEASON DETAILS
Venue: Her Majesty’s Theatre
Season: From May 2026
TICKETS ON SALE 8 DECEMBER – WAITLIST NOW AT WaitresstheMusical.com.au

SYDNEY SEASON DETAILS
Venue: Sydney Lyric Theatre
Season: From 1 August 2026
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

 

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It's A Wonderful Life

It's A Wonderful Life

It's A Wonderful Life Rating

★★★★★

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8

As I walked into the Genesian Theatre, I was greeted with dazzling Christmas decorations and the soundtrack of ‘White Christmas.’ The festive mood spirited the eager audience into the magical world of Christmas, ready to feast upon The Genesian Theatre Company’s stage adaptation of the classic movie It's A Wonderful Life.

In addition to the sparkling Christmas atmosphere, the theatre is absolutely gorgeous. After residing in their premises at Kent Street Sydney CBD for 70 years, the Genesian Theatre Company relocated to Rozelle in 2025. They have spectacularly renovated a 120-year-old heritage building with state of the art sound and lighting equipment and very comfortable seats (which were much appreciated.)

The story of It's A Wonderful Life spans over three decades from the 1910s to 1945, depicting flashbacks of the main character George Bailey, presented by Oliver Macfadyen. Macfadyen is a brilliant lead, showing the greatest sincerity and humanity in his character. George is watched over by his guardian angel Clarissa, who is delightfully played by Natasha Todd. Todd was utterly angelic as she guided George Bailey into realising how meaningful and important his existence is, and that it truly is ‘A Wonderful Life.‘ Also faithfully by George's side, is his adoring wife Mary Bailey, played by Amahlia Day. Day oozes poise and grace into her role and is a picture-perfect image of a 1940s housewife.

Working alongside George in his family loan business ‘Bailey Building and Loan’ is his Aunt Dilly. Aunt Dilly was presented by Karen Firmstone. Firmstone generated a heartfelt rendition and a highly enjoyable performance.

Paul Adderley excelled in his complex task of presenting two very contrasting characters: the first, Mr Gower, who is supportive and kind to George; and the other Mr Potter, a shrewd, heartless business who nearly causes the demise of our beloved George.

Dimitri Poulos and Genevieve Sky play the other angels who are guiding Clarissa on her own path to gain her wings. Their performances were steadfast, and yes, angelic and they showed great talent in portraying multiple characters throughout the play. Werrdan Khoury was another admirable actor who showed great diversity and comedy skill in his portrayal of multiple roles, the main role being Sam, the longstanding friend of George Bailey.

The staging was cleverly designed to immerse the audience into George Bailey's business premises. Allocated entries and exits for his business effectively created its own world and space. Ethan Chan's lighting design was flawless and atmospheric. His techniques were intuitive to the action and cleverly created a movie-like illusion. The music and sound effects were both flawless throughout the performance. Michael Schell utilised panning effects and clearly demonstrated the theatre's quality sound equipment.

The 1946 Hollywood Christmas classic remains just as charming nearly 80 years later and the Genesian Theatre Company has honoured its long lineage. The director, Kathy Petrakis, has delivered a spectacular rendition of It's A Wonderful Life and injected the hearts of the audience with love and Christmas cheer. I encourage you to step into the festive season and embrace this timeless, heartwarming classic. It's a perfect way to kick off your Christmas festivities and will definitely fill your cup with warmth and Christmas spirit.

To book tickets to It's A Wonderful Life , please visit https://genesiantheatre.com.au/events/its-a-wonderful-life/.

Photographer: HomePix

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Bach Akademie Australia: The Brandenburg Concertos

The Brandenburg Concertos

The Brandenburg Concertos Rating

★★★★★

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About 25.3 billion kilometres from Earth, travelling at 61,000 km per hour, Voyager 1 contains a gold record that includes recordings of Barnumbirr (Morning Star) and Moikoi Song played by Tom Djäwa, Mudpo, and Waliparu, Johnny B. Goode by Chuck Berry, and Johann Sebastian Bach’s Brandenburg Concerto No. 2 in F Major.

When asked what message humans should send to alien civilisations, the biologist Lewis Thomas replied: “I would send the complete works of Johann Sebastian Bach… but that would be boasting.”

The Brandenburg Concertos are exquisite, like gems, cut precisely and polished so they sparkle.

Imagine you are 36 years old. Your wife had died, you have four children and you need a better paying job. In 1721, Johann Sebastian Bach wrote six concertos in an attempt to convince the Margrave of Brandenburg-Schwedt to hire him. It didn’t work. The manuscript was discovered, tucked away in a library cupboard, in 1849. It appears that the Margrave never saw them.

Miraculously, the original manuscript survived the bombing of the train they were being carried on during World War II. A librarian, transporting the manuscript, fled the train, running out into a forest with Bach’s concertos hidden under his coat.

Madeleine Easton, the artistic director of Bach Akademie Australia, was captivated by the concertos when she first heard them as a child. The music “bubbled” joyfully. She was transfixed and determined that one day she would learn to play them herself.

Easton has more than realised that artistic dream. She is one of Australia’s most celebrated violinists, performing to acclaim internationally, and leading the Bach Akademie Australia.

 

 

Bach Akademie Australia are a remarkable group. The promo spoke of “unbridled joy”, a promise kept in the performance of the Brandenburg Concertos tonight. Technical skill is present in abundance in this group of accomplished musicians, but it is the balance of that skill with the dynamic interpretations and the sheer joy of performing that makes Bach Akademie’s music memorable.

It is delightful to see the communication between the musicians as they play: a glance here, the synchronised breathing, the physical uplift of the body to initialise the tempo, or a call and response between instruments in the concerto. The travelling solo in Brandenburg Concerto number three was a pleasurable highlight.

I found odd moments of real magic, not just during the performances but during the interval, when Nathan Cox tuned the harpsichord.

To a certain extent recordings have spoiled us. There is an unspoked expectation of perfection that can only be achieved by editing and the best of hi-fi equipment. With this in mind, there is a wonderment in hearing original and acoustic instruments without amplification, especially in a chamber music setting.

Madeleine Easton plays a 1682 Giovanni Grancino violin, an instrument with a wealth of experience in its wood. Her colleagues are similarly equipped, and we the audience benefit greatly from the wood, the breath, the brass, the experience and the joy.

To book tickets to The Brandenburg Concertos, please visit https://www.bachakademieaustralia.com.au/events.

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