Once On This Island.. You’ll Never Want To Leave

Once On This Island

Once On This Island Rating

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There’s something magical about Once on this Island A Musical. Curveball Creative with Hayes Theatre Company whisked me away on an 80 minute meander into a visually beautiful and enchanting cultural retelling of ‘one small girl’ (the name of the second song performed), Ti Moune.

Relative newcomer to the stage Thalia Osecueda Santos absolutely shines as Ti Moune. Her performance as a little orphan captured my heart at the beginning of the show. Portraying the young adult Ti Moune, Thalia’s singing and expressive emotions showed an innocent and carefree character full of hope, on the cusp of womanhood, bursting with excitement to start her life. One standout scene was when she was asked to dance by Andrea (Chaya Ocampo) and to the delight and encouragement from the audience, her beat and movement to the music showed a dynamic traditional islander dance.

Leah Howard’s choreography and musical director Dylan Pollard’s work throughout the musical was truly captivating. The whole cast moved together in song and dance seamlessly. Even when they were onstage and changing the set, the actors made it part of the story. I particularly adored the choreography and acting when some characters were part of nature – watch out for the birds and frogs in different scenes, which garnered some laughs.

Rita Naidu’s costume design for Once On This Island A Musical was vibrant and creative. In the retelling of the story of Ti Moune and her search for her love Daniel (Alexander Tye), there was an incredible range of varied and colourful characters. The four gods, Agwe (Googoorewon Knox), Asaka (Paula Parore), Erzulie (Cypriana Singh) and Papa Ge (Rebecca Verrier) were brilliant, performing together to create quite the authoritative presence of the overseeing powers-that-be, and separately in their roles that pulled the audience into their orbit. Rebecca Verrier’s sly Demon of Death was frightening at times!

 

 

Ti Moune was an orphan who was taken in after being seen clinging to a tree after a dreadful storm by an elderly couple, Mama Euralie and Tonton Julian. Mama Euralie, played with a huge heart and a matching commanding voice by Zahrah Andrews, was the ever-protective Mama and Sione Mafi Latu portrayed Tonton Julian with a gentle and loving presence.

After seeing Daniel and caring for him after a car accident, she falls deeply in love. There is a problem of the two coming from vastly different classes. This raises boundaries and questions of following the heart, or following family traditions. Bash Nelson (as Armand), Paul Leandre Escorrido and Sara Camara are strong supporting cast members.

Be on the lookout for a history lesson (the backstory of Daniel’s family) told in a most creative way, using shadows and narrative. Kudos to Alexander Tye and Bash Nelson in these scenes. It was almost a nod to shadow puppetry and this added a visual element that was very original and very well performed.

Director Brittanie Shipway, amongst other things, has guided the cast of twelve into sounding like a cast of twenty, with the band onstage at the back, heralding a clear and beautiful accompaniment to the actors’ vocals.

Once On This Island A Musical was a fast moving feast for the eyes and ears, best told as it is with no interval to distrupt the flow. The book and lyrics are by Lynn Ahrens and the music by Stephen Flaherty. This is a fable which imparts messages of love, belonging, culture and connection to our land and gods – I highly recommend seeing this musical and having your heart travel with Ti Moune and her story.

Once On This Island A Musical is playing at The Hayes Theatre 19 Greenknowe Ave, Potts Point
Season run: 2 August – 31 August 2025.
Tickets: $99
www.hayestheatre.com.au/event/once-on-this-island

To book tickets to Once On This Island, please visit https://hayestheatre.com.au/event/once-on-this-island/.

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Macbeth in The Lounge

Macbeth

Macbeth Rating

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‘Come You Spirits’ Theatre Incorporated’s production of Macbeth is being performed in the intimate and engaging space of The Lounge at the Concourse Theatre Chatswood. It creates the perfect atmosphere for delivering a truly personable Shakespearean performance.

There was a lovely welcoming message from the cast and they also concluded the performance with a heartfelt message of thanks. Although the actors were not amplified, they were heard clearly due to their perfected voice projection and the nature of the small space. I really appreciated the clarity, articulation and dramatic delivery, which ensured a well-absorbed performance. Shakespeare can often be difficult to digest, as the script is comprehensive, and sometimes players tend to rush through the complex dialogue. However, this was definitely not the case during this presentation. It was engaging and delivered in a timely, dramatic fashion, which had me – and certainly the entire audience- enthralled. The entire cast of six was of the highest professional caliber and all gave a spectacular performance.

Macbeth and Lady Macbeth were played by Charles Mayer and Jo Bloom, who portrayed a natural connection and chemistry on stage. They both brought great emotional depth in their leading role characters and delivered a solid convincing performance.

Charles Mayer displayed the overly ambitious character of Macbeth with great conviction throughout. He showed passion, ambition and then later portrayed the tortured, battered soul of his character.

Jo Bloom delivered the greatest of sincerity to the ever-goading, ruthlessly ambitious, Lady Macbeth. Jo also doubled as the Second Witch and skillfully transitioned between the two contrasting characters.

 

 

Banquo was played by David Halgren, who gave a haunting and eerie rendition of his character. He also showed great skill in his theatrical movements leaping on and off the table and in his ghost-like manoeuvres.

Ciaran O’Riordan’s performance as Macduff was heartfelt and convincing. He portrayed Macduff with all the passion the character deserves.

I really appreciated the well-projected clarity and dramatic delivery of Willa King’s portrayal of the First Witch. Her
resonating, clear vocal tones were deeply impactful.

The homage to our traditional Aboriginal custodians was beautifully and seamlessly interwoven throughout the performance. Ella Havelka, who beautifully portrays the Third Witch, is an alumnus dancer with the Bangarra Dance Theatre and honoured her heritage as a member of the Wiradjuri people by flawlessly incorporating traditional influenced movements in her portrayal as the Third Witch.

The dimly lit setting created an eerie atmosphere for the supernatural elements, which constantly wove throughout the play.
I was particularly taken with the regal, gothic themed dining room staging, complete with lit candelabras, tablecloths and goblets. Also, the staging for the infamous “Double, double, toil and trouble” witches scene, presented with a smoking cauldron and appropriate props was equally striking.

The costuming was very impressive and gave authenticity to the period. It was brought to my attention that the costuming, sets and props were all predominantly sourced second-hand. This is a credit to the Art Director Letitia Hodgkinson who passionately sourced a suitable array of fabrics and materials. Her actions are most admirable and show a great commitment to environmental sustainability, while maintaining a high standard of creativity and artistic sense.

The musical compositions by Brandon Read, music composer and producer, elevated and intensified the performance. The recorded soundtrack was impactful and creatively accompanied the dramatic themes, providing a more full bodied performance.

I would also like to mention the fantastic work of the Lighting technician Adam Applebaum. He made splendid use of spotlights and coloured lighting to enhance themes and poignant moments as well as amplify the eerie scenes.

‘Come You Spirits’’ presentation of Shakespeare’s Macbeth is brilliant and captivating. Their rendition is condensed into a fast paced 90 minute performance centered around six main characters. A highly enjoyable performance with a stupendous professional cast.

To book tickets to Macbeth , please visit https://www.theconcourse.com.au/event/macbeth-in-the-lounge/.

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Tuấn’s Party – A Look at Friendship and Politics

Tuấn’s Party

Tuấn’s Party Rating

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Set during the 2022 federal election, Tuấn’s Party explores the unexpected win of independent Dai Le in Fowler. This smart and emotional play looks at the personal and political tensions hidden beneath a simple housewarming.

Directed by Neda Taha, the play follows newlyweds Tuấn (Terence Nguyen) and Natalia (Sarah Gattellari) as they host their first post-pandemic dinner party in St John’s Park. Their guests — childhood friend Kevin (Nathan Niguidula), fresh off the campaign trail for Kristina Keneally, and his girlfriend Nadine (Charnel Rizk) arrive just as the electorate begins to erupt with shock and celebration.

What begins as a regular night of chatting and discussing politics soon changes. It becomes a deeper exploration of identity, class, cultural expectations, and the fragility of friendship. Skeletons emerge from closets, conversations get heated.

 

 

Each performance was compelling and engaging. Nguyenn brings vulnerability as Tuấn, while Gattellari shines as Natalia. Niguidula captures Kevin’s earnest political idealism with humour and depth, and Rizk’s Nadine delivers a slow-burn performance that builds to an unforgettable climax. Olivia Xegas makes a short but sharp appearance as Kristina. She highlights the absurdity of political optics in a so-called “safe seat.”

While the script — co-written by Kobra Sayyadi and Bina Bhattacharya with the cast — is rich in humour and naturalistic dialogue, it doesn’t shy away from hard truths. Questions of authenticity, tokenism, migration, and loyalty are raised without easy resolution. The play takes inspiration from Don’s Party. However, it tells the story in a new way, focusing on Western Sydney.

Staged simply but effectively at PYT Fairfield, the set reflects a real home in transition — not quite polished, slightly chaotic, and full of history. It’s a fitting metaphor for the characters and the community they represent.

Tuan’s Party is more than just a night of drama — it’s a mirror to a region often misunderstood and misrepresented. It’s uncomfortable in all the right ways, and essential viewing for anyone who wants to understand what’s really at stake in Australian politics and personal identity today.

To book tickets to Tuấn’s Party , please visit https://pyt.com.au/tuansparty/.

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Betrayal

Betrayal

Betrayal Rating

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Watching Sport for Jove’s production of Harold Pinter’s Betrayal, now playing at the Old Fitz Theatre, I ran through alternative titles for the piece in my head. Some were: The lies we tell each other and ourselves; Why do we lie to each other? And lastly, why are humans so horrible to each other? On reflection, these are probably more questions the play provokes rather than suitable titles.

Betrayal is certainly a play that will have you wondering about why we cheat on each other. While set over fifty years ago, the theme of infidelity is a timeless one. Pinter wrote the play in reverse. It opens at the end of an affair, rather than at the beginning. In the first scene, Emma and Jerry, both in their late thirties, meet for a drink at a London pub in the spring time. Their conversation soon reveals they have been clandestine lovers, with their affair ending two years before. She is married to Robert who is best friends with Jerry. Jerry is married to Judith. Both couples have children. Emma reveals to Jerry that her marriage to Robert is over, in fact, they’ve broken up the night before. More shocking to Jerry though is that Robert has now learnt about their previous affair.

Desperate to talk to his long-time friend, the second scene sees Jerry meeting with Robert at his house. Their awkward dialogue hints at a brittle friendship. When Jerry finally talks to Robert about his affair with Emma, he is shocked (again) to discover that Robert had already known about the affair at least two years before. Jerry realises Emma has lied to him. How many times has she lied to him before? In his moment of outrage, Jerry seems to forget that he’s been lying too.

From here on, each scene moves backwards in time, travelling towards the final scene in which we see where the seeds of Emma and Jerry’s affair were planted. Pinter’s use of a reverse plot structure is effective. Each scene painfully reveals more to the audience about the couples. We start to see that behind the facade of domesticity lurk secrets and lies. A particularly devastating scene is when Robert discovers Emma’s infidelity as they holiday in Venice. Pinter’s economic dialogue here is especially biting, revealing so much in what is not actually said.

 

 

Betrayal is undeniably a bleak play. Under Cristabel Sved’s direction, the performers work hard to portray the ugliness of infidelity and the pettiness we are all capable of in our relationships. Ella Scott Lynch as Emma shines on stage; a woman caught between two men she both loves. Andrew Cutcliffe playing Robert captures the pain and impotency of a man whose wife has cuckolded him with his best friend. Matt Hardie as Jerry is effective in portraying a seemingly likable man who reveals himself eventually. None of the characters are particularly likeable but I think that was Pinter’s point. He has crafted characters who are real and, at times, baffling in their behaviour.

Set and Costume Designer Melanie Liertz has created a minimalistic set that fits well with the stark nature of the story. Vertical blinds are set to good use with scene titles projected onto them as well as photos of (ironically) happy family moments. I did wonder if the choice of these blinds was some kind of metaphor for the characters’ ‘blind’-ness in their relationships? Composer Steve Toulmin uses compelling piano music as transition between scenes. Verity Hampson and Luna Ng’s lighting design adds suitable mood to each scene.

Ultimately, Betrayal never really answers why we betray each other. Perhaps what it shows instead is that there is no answer for why we behave in the ways we do.

Betrayal is now running at the Old Fitz Theatre in Woolloomooloo until August 10.

To book tickets to Betrayal, please visit https://www.oldfitztheatre.com.au/betrayal.

Photographer: Kate Williams

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