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Samana Sunrise at the Spanish Film Festival

23/06/202523/06/2025 Steve Willems🥈🦉🎭🎬

Opening Gala – Spanish Film Festival (Samana Sunrise) Rating

★★★★★

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The HSBC Spanish film festival opened recently across the country and I was lucky enough to attend the opening night Gala in Sydney. Taking over all 4 screens at the Palace Cinemas in Moore Park, they started the party with endless prosecco, Spanish cocktails, delicious paella, and a lively band that inspired guests to hit the dance floor. It was so much fun the film almost became an afterthought, but eventually the party had to stop as everyone meandered into their respective screens in a suitably Spanish way, well after the advertised starting time.

Directed by Rafa Cortes, Samana Sunrise (Amanece en Samaná in Spanish), is a romantic-comedy based on the play Cancún by Jordi Galcerán. Two married couples, Ale and Santi (Luisa Mayol and Luis Tosar), and Natalia and Mario (Bárbara Santa-Cruz and Luis Zahera), go on holiday in a Dominican resort to celebrate two decades of friendship. The carefree holiday quickly changes when Ale drunkenly confesses to a small deception that led to Santi dating and eventually marrying her instead of his original interest, Natalia. The next morning, Ale wakes up in shock to find Mario in her room and Santi acting as if he’s married to Natalia. The rest of the film (yes, really) is Ale slowly coming to realise her friends truly believe this new reality and are not just playing a lavish prank.

This ‘what if’ alternate reality device was the perfect set-up to explore deeper themes of fate and love, and how small decisions can dramatically impact our own lives and those of the people we care about. To its credit, the film was a lot of fun, and funny, with outstanding performances from the cast, especially Luis Zahera and Luisa Mayol.

The cinematography adequately captured both the beauty of the Samana landscape and the intimacy of the relationships. I’d like to have seen Cortés dive into the deeper themes that were set up so perfectly at the start. Spain has always had an extraordinary film culture, full of talent and inventiveness, so I’m excited to see more of the festival.

The HSBC Spanish Film Festival is on in Sydney until the 9th of July all around Australia. To book tickets to this years Spanish Film Festival (Samana Sunrise), please visit https://spanishfilmfestival.com/.

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Sugar Might Be Addictive…

23/06/2025 Kirsty Dale🥉

Sugar Rating

★★★★★

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Wow! What a yummy treat this cabaret was. I ate it up and didn’t want it to end! Tomàš Kantor sucked us into the story from the get-go with clever use of current pop bangers that we all know, and love. From Chappell Roan to Gaga, the Sugababes and TikTok hits, the music always encapsulated the story in an interesting and unique way. The rollercoaster of emotions throughout was relatable and we were rooting for the very lovable Tomàš as Sugar. Honestly, in this economy, who hasn’t contemplated taking the “easy way out” and becoming a sex worker after watching Pretty Woman. Especially easy to relate to if you’ve ever been a struggling uni student living in a share house.

Tomàš performance of this (as far as I can tell), true story, was powerful, fun and playful. I loved the use of the poppiest of songs arranged in a cabaret format. I died when Prada played. They gave us clever costume, prop and set use, great vocals, dance breaks and played multiple instruments. What a multi-talented and intelligent performer! The characters were all interesting, well-defined and had a point of view. The story was clear. I feel as if this is a show you could see many times and notice new clever intricacies each time. Tomàš and Bullet Heart Club (Ro Bright – show writer & Kitan Petkovski – director) deserve high praise for this!

Don’t be distracted by the sparkles though. Not only was it funny, but there were poignant moments as well. These included some insight into why sex work is often not “easy money.” This is a job which requires incredible sacrifice of self and often places the worker into perilous personal situations where they have no power or recourse for wrongs committed. This window into sugar-babying throws light on some inherent class divides and the power imbalance of these transactional relationships. There was subtle commentary on internalised queerphobia too, and I had goosebumps when they started singing the last song.

The show included considerable (optional) audience participation and use of house lights which made for a very immersive theatre experience. This hooked us in for the ride and made us laugh. Word of warning, if you are uncomfortable with descriptions or portrayals of sex on stage this is maybe not the show for you. However, those who are down, you are in for a thrilling collective release. I was unsure how the audience would react at the Hayes, but they loved it! Tomàš is so charismatic and charming that we feel as if we are a friend getting the tea.

Ultimately, such a fun journey, I laughed and sympathised with Sugar. I would heartily recommend going to see Sugar if you get the chance. This debut cabaret has already won multiple awards, and rightly so, Tomàš is a talent to watch. Look out Edinburgh…

To book tickets to Sugar, please visit http://hayestheatre.com.au/event/sugar/.

Photographer: James Reiser

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Showgirl Grit, Cabaret Wit: The Soul of a Siren

22/06/202521/06/2025 Faith Jessel⭐🦉🎭

Confessions of a Drama Queen Rating

★★★★★

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This is burlesque with bite. I walked into Confessions of a Drama Queen expecting fishnets and feathers, but what I got was something far bolder: a woman reclaiming her life, body, and sexuality, on her own terms and in her own glorious style. Yes, it’s sexy but also soulful, self-aware, and delightfully risque; equal parts sparkle and steel.

Behind the lashes, lingerie and big belt vocals of Songbird Siren is Megan Walshe. A seasoned Sydney burlesque bombshell who’s earned her stripes wowing crowds from sultry lounges to cruise ship catwalks. She was also a finalist in the MX Burlesque NSW 2024 competition, with the scars and strut to prove it.

The structure of this one-hour show is deceptively loose and fanciful; a lively blend of skits, strips, vaudeville flair, memoir melodies, and clowning, all seamlessly stitched together. Occasionally, live piano flirts with a syncopated rhythm, adding a wink to the unfolding scenes. Songbird leads us through a raucous, rhinestone-strewn maze of glamour, heartbreak, and hilarity. The journey is a playful yet pointed provocation.

Confessions of a Drama Queen isn’t just cabaret. It’s a backstage pass to the gritty reality of performance life in Sydney through the eyes of a kick arse woman who spins sugar from the sour. It’s a tale of grit and staying power, of clutching your calling tight even when the world buries it beneath bills, rejections, and relentless grind. So while you get the naughty tassels and tease galore, you’ll also be caught in the sweat and stamina.

There’s something deeply compelling and ironically voyeuristic in our fascination with what goes on behind the scenes: the heartbreak and the side hustles that fund the dream. While recounting her 27 no-skill jobs, from fairy floss spinner to Macca’s drive-through worker, she performs a fabulous ABBA medley that turns her struggle into something defiant, delivered with flair and self-deprecating humour.

Two clowns (Alexis Hutchinson and Carla Field) provided sharply timed satire as her assistants, and a third silent-yet-essential presence, Jared Jekyll, quietly and comically tidied the trail of costumes and props left in her wake. Together, they conjure a world of slapstick and sincerity with pitch-perfect absurdity whilst effortlessly layering the commentary onto the main story.

Throughout the show, Songbird unfolded her personas much like Gypsy Rose Lee’s life, marked by reinvention and resilience behind the glamour. From desperate musical theatre graduate to cheesy cruise ship numbers, then a very clever slow transition from strip club kitten to full-blown Showgirl Glamazon. This final form shimmered with self-possession. Her performance of “Never Smile at a Crocodile” was a standout. A song I’d never thought much of became, in her hands, a metaphor for staying away from those who diminish you or refuse to see you. She sang it with such tender poise and knowing, it struck a quiet, powerful chord.

Hayes Theatre Co has carved a reputation as Sydney’s home for bold new work where musicals get gutsy and cabaret sharpens its edge. Their Winter Cabaret Season champions fearless voices in an intimate jewel box that consistently punches well above its weight, giving Sydney’s most adventurous performances the audience they deserve.

Confessions of a Drama Queen is less a performance and more a full-body reveal; a sparkle-soaked chronicle of survival and sheer showbiz grit. Equal parts showstopper, confessional, and comeback story, it’s the backstage juice we’re all secretly dying to hear. Don’t miss it; sass up, sparkle on, and get ready for a truth-telling strip with heart.

To book tickets to Confessions of a Drama Queen, please visit https://hayestheatre.com.au/event/confessions-of-a-drama-queen/.

Photographer: @Apart.Photography

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Skank Sinatra: A Hilarious, Glamorous Night of Drag Cabaret

21/06/2025 Donna Portland 🥉

Skank Sinatra Rating

★★★★★

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Imagine stand-up comedy, but with music, glamour, and a powerhouse voice – that’s Skank Sinatra. Performed by the strikingly beautiful Jens Radda, this drag cabaret show is a witty, melodic, and delightfully cheeky celebration of song and storytelling.

Radda is radiant as Skank Sinatra – her skin flawless, makeup impeccable, and smile utterly disarming. The audience was clearly captivated, not just by her looks, but by her nuanced, hilariously expressive facial gestures and effortless stage presence. She moves with grace and confidence, her costume choices both bold and elegant. A sleek white ensemble showed off her svelte figure, and a clever costume change added to the theatrical flair.

But what truly sets Skank Sinatra apart is her voice. A rich contralto (with flashes of tenor range), Radda reimagines classic Sinatra tunes with clever lyrics that kept the audience highly amused. Her musicality is matched by strong storytelling – tales that span smoky jazz clubs in New York, the underground cabarets of Berlin, the flamboyant streets of Sydney, and even the wild savannas of South Africa – all delivered with charm, humour, and often while accompanying herself skillfully on the keyboard.

At times, the backing music could have been slightly louder, but that’s a small note in an otherwise polished, confident performance. She sings on key and with style – an absolute pleasure to listen to.

The intimate Loading Dock at Qtopia adds charm and closeness, though one couldn’t help but imagine how spectacular this act would be in a “Cotton Club”-style venue – a cabaret setting where the audience could dine, sip cocktails, and soak in the ambience. Still, the energy and enthusiasm in the room were palpable. Many in the crowd were return fans; others curious to see if the buzz was justified. It was – and then some.

Skank Sinatra has won Best Cabaret at the Adelaide Fringe two years running. It is excellent entertainment, blending glamour, satire, and musical talent in equal measure. Radda doesn’t miss a beat! Highly recommended.

Qtopia: The venue itself is worth a visit. Located in the heritage-listed former Darlinghurst Police Station, Qtopia is the largest museum and cultural centre dedicated to queer history and culture in the world. With four buildings on site, it’s worth arriving early or staying after the show to explore. A bar onsite offers refreshments, and the audience – an even mix of ages and genders – added to the warm, community feel.

To book tickets to Skank Sinatra, please visit https://www.skank-sinatra.com/.

Photographer: Joel Devereux, MJ Bently

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