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 ā€œladies of a certain age,ā€ 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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I'll Be Back Before Midnight

I'll Be Back Before Midnight

I'll Be Back Before Midnight Rating

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5

I'll Be Back Before Midnight is a tantalising play full of twists, turns and jumps that will have your heart thumping, palms sweating and your skin prickling.

This spine-tingling production is being Presented at the beautifully unique Pavilion Theatre Castle Hill by the talented Castle Hill Players and directed by Ben Freeman.

The play is set in a cosy country cottage where Greg the elusive unsupportive husband, played by Mitch Doran, has brought his wife, Jan for recovery after a long admission in a psychiatric hospital. Jessie Peak as Jan was marvellous at portraying the neurotic self-doubting wife; her fearful and frustrated emotional outbursts were impactful and harrowing.

Greg instigated trouble in his marriage by inviting his sister, Laura, who is despised by Jan, his wife. Mitch Doran is wonderfully convincing in his role as the standoffish, self-oriented husband. Mitch skillfully portrayed the unraveling of his character, unearthing closets of surprising secrets.

Meredith Blee as Laura, the sister of Greg who has come to stay with Greg and Jan at the country cottage, showed great antics and dramatics between herself and both Greg and Jan. Meredith displayed a somewhat teasing and trouble-making character and ā€˜dug her own grave’ for doing so.

 

 

Jonathon Burt presents our fourth character, George, the owner of the cottage who consistently drops in to spread a dash of hysteria and hysterics. Jonathon was delightfully hilarious as George, delivering witty one-liners in fantastical succession. Jonathon's comedic delivery and depth of character were fabulously displayed.

With a production team outnumbering the acting cast near 4 to 1, it is clear how collaborative team effort developed such a wonderful theatrical stage adaption. The team seemingly spared no expense and poured endless hours of loving dedication into creating this fantastic production.

The advantageous feats the production team went to in order to make all the ā€˜magic’ happen—and there sure was plenty of ā€˜magic’ and special effects—was incredibly admirable. In pursuit of authenticity, they gained police permission to fire a real shotgun with blank bullets to create an authentic live sound and experience. It's the ingenious creativity and attention to fine details that molded the show into a thoroughly impressive experience.

The stage construction was ingeniously designed to enhance the theatrics, such as the furiously abused kitchen serving window and the shutters which eerily flew open and closed. The artistic design of the living room where the entire play took place was creatively and effectively laid out.

The lighting was fantastic, cleverly simulating cars leaving and arriving through the stage window and the timely light dimming and spotlights accompanying the stage drama. Also notable was the fireplace explosion with smoke and lights and the several feigned power outages which were all executed masterfully.

The numerous sound effects throughout, including the cars, telephone and recordings, elevated the action superbly. The thumping, bassy heartbeats penetrated the audience into a state of unease and anticipation. Additionally, the sinister piano music illuminated the eeriness and contributed to create the perfect creepy atmosphere.

I'll Be Back Before Midnight is a gripping play packed with a solid, talented cast and a wonderful display of special effects. It will make you laugh, jump, gasp and scream, and leave you tingling with goosebumps. Grab your tickets and enter this welcoming theatre but take heed to ā€œbe back before midnight.ā€

To book tickets to I'll Be Back Before Midnight , please visit https://paviliontheatre.org.au/ill-be-back-before-midnight/.

Photographer: Chris Lundie

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About The Show - The Edit by Gabrielle Scawthorn at Belvoir 25a

The Edit

Buckle up for a wild ride into the zany underbelly of reality TV with Gabrielle Scawthorn's latest show, The Edit at Belvoir 25a. We chatted with Gabrielle about this unique production that dives deep into the chaotic world of reality TV, where contestants and producers pull all sorts of crazy stunts to keep us glued to our screens. This show promises a rollercoaster of laughs, thrills, and yes, even some binge-eating chicken wings!

About The Edit by Gabrielle Scawthorn at Belvoir 25a

What is this Production about?

The production is about the wild world of reality Television. The truly absurd and terrifying contestants and producers and all the mental things they do to try to make us binge watch.

What character are you playing, and what can you share with us about them?

I play a character called Jess. She’s working on a reality TV show called ā€œMatch or Snatchā€. Just like the Bachelor or Love Island, this show uses a team of experts to pair up contestants with their perfect match, but the catch is, contestants have to figure out who their perfect match in the Mansion is. The incredible Iolanthe plays Nia, a beautiful young contestant on the show.

Why did you want to be involved in this production?

Well, firstly, I fell in love with the script. I laughed and cried reading it and had so many questions. And then the team who are making this show are amazing, it’s a group of people who I’ve had theatre crushes on for years, so I’m thrilled to finally be working with them. 


What sort of person is going to love this show?

If you love reality television, you will love this show.
If you hate reality television, you will love this show.
If you love celebrities or love to hate them, you’ll love this show.
If you like funny, fast, thrilling theatre, you will love this show. 
If you love to see two women binge eat chicken wings, you will love this show.


What will the audience be thinking about in the car as they drive home after this show?

Gabrielle Scawthorn's script brings in her own experience with being on reality TV at seventeen (crazy) AND she’s also done so much research as part of her lauded podcast ā€œBack from Realityā€ where she interviewed former reality television contestants about their experiences on reality TV and being in the limelight and also what it’s like to come out of these shows and back to your life. So she’s crafted something with all the insider gossip! All the shit you never hear about, behind the NDAs, behind the cameras. The underbelly of reality TV.


Who has the best costume?

Definitely, Iolanthe’s character ā€œNiaā€, she’s so stylish and her fits are sexy and ****y. Jess is basic in comparison.

Is there anything else you'd like to add?

This is the last 25a show at Downstairs Belvoir for some time! After years of housing some of the best independent theatre shows, 25A is making space for Griffin Theatre in 2026. It’s an end of an era! Dom Mercer has programmed the best new theatre makers in this country, and the shows are totally unlike anything you see anywhere else, and they ALWAYS SELL OUT! So don’t sleep on tickets. $25 is THE cheapest theatre ticket in Sydney. CRIMINAL… or is it?

Where can patrons purchase tickets to this production?

To book tickets to The Edit by Gabrielle Scawthorn at Belvoir 25a, please visit https://belvoir.com.au/productions/the-edit/.

Thank you so much for your time and insights! Wishing you all the best for "The Edit" by Gabrielle Scawthorn at Belvoir 25a. We can't wait to see the magic you bring to the stage! Cheers!

Other production interviews can be viewed in our About The Production Series.

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