Next Fall – Unmissable!

Next Fall

Next Fall Rating

★★★★★

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The best plays are ones which sit in my mind, long after the curtain call. The special blend of plays that, the longer they percolate and brew, they deepen. Not only in colour but in depth and substance. This is “Next Fall”, a Boyslikeme Productions play, on now at The Eternity Playhouse in Darlinghurst. Have I really compared “Next Fall” to coffee? Yes, I have – and believe me, I love my coffee strong which is what this play is! “Next Fall”, written by Geoffrey Nauffts, is a layered and emotional piece of theatre and had me thinking not only about the physical aspects of the play, but also about important current themes revolving around love, religion and societal and family expectations.

At the heart of it, is a love story between a couple. Adam and Luke are gay, and they’re in love. If only Life was that harmonious. Set in 2009 in New York City, their relationship unfolds, alternating between the present and flashback scenes of the preceding five years of their relationship. In the opening scene, Holly (Natasha Vickory) and Brandon (Jason Jeffreries) are in a hospital waiting room. They don’t appear to be too familiar or comfortable with each other. Arlene (Sophie
Gregg) enters with a whirlwind of chatter.

After some time, the audience experiences Adam (Luke Jacobz) and Luke (Conor Fogarty) falling in love, moving in together and their friendship with Holly, a candle shop owner and Adam’s boss. The age gap between the two doesn’t affect them (Adam is older than Luke) but there are two other differences which divide the pair. Luke is deeply religious, and consequently not open and honest with his family about his relationship with Adam. And he is not honest to himself about living his own truth and being comfortable in his own sexuality.

There’s one particular scene which stands out to illustrate this. It’s a simple scene, with Adam and Luke joking around in their apartment. Jacobz and Fogarty show the easiness of their characters, and there is beauty in their connection. They could be any loved up couple in the world. It all crumbles in an instant when Adam, who is agnostic, says one line, delivered by Jacobz with a heartbreaking plea, “I want you to love me more than Him.” The way that Fogarty portrays Luke in the following moment was perfection, and his silence cut like a knife. To me, this was a poignant moment and one which had less to do with sexual orientation, and more to do with faith and upbringing in the church. In any relationship, companionship with religious beliefs will lead to a happily ever after, in the “forever after”.

 

The play regularly transitions between past and present time periods, the latter in a hospital waiting room. This is indicated by a disconcerting and purposeful electric buzz accompanying a quick flash of light. At times this seemed disjointed and a even especially after a comedic scene. Kudos to set and lighting designer Casey Moon-Watten for creating this delineation between the past and shocking present.

In scenes where Adam comes face-to-face with Luke’s parents, Arlene and Butch (played by Gerard Carroll), Jacobz’ masterful performance swings between his character being respectful and unsure, to building up to an explosive scene, which stands out as a powerful moment. Carroll delivers a compelling performance as Butch, embodying a stern, traditional man of faith with conviction and a steady dose of homophobia. Another encounter with Butch and Luke deepens the emotional complexity of the story, highlighting Luke’s internal struggle and the bravery required to reveal his true self to his father. The scene poignantly explores the universal theme of seeking parental acceptance and approval, an enduring desire that persists regardless of age.

“Next Fall” skilfully weaves comedic moments throughout the script with witty dialogue lightening the play’s more serious subject matter. The cast embraces this, notably in one scene where Adam finds himself in his apartment alone with Butch. Knowing that Butch is unaware that he is Luke’s partner, yet wanting to be polite and a good host, he offers Butch a cup of tea. The two men end up discussing the ‘dainty’ teacups, with Adam offering a sweetener in the cutest ever honey bear
pot. The campuses of this scene was golden and had the audience laughing at the clearly uncomfortable Adam.

Producer and Director Darrin Redgate has brought together a talented cast and crew, delivering an insightful blend of drama, humour and pure heartfelt emotion that will leave audiences with a play to remember and think about, long after the curtain falls. “Next Fall” offers a poignant reflection on society’s ongoing struggle for acceptance and harmony. Despite being set 17 years ago, Luke’s reluctance to come out to his parents and the internal pressures he faces within his relationship with Adam, mirror fractures that still exist in today’s social climate. It is both interesting and disheartening for me to see how little progress has been made. I hope that it won’t take another 17 years for society to embrace the true essence of love and kindness, no matter who you are, who you believe in and who you love.

“Next Fall” is unmissable – bring a friend!
Season run: 22 October – 7 November 2026
Eternity Playhouse 39 Burton St Darlinghurst
Run time: 135 minutes with a 20 minute interval
Tickets: www.nextfall.com.au

To book tickets to Next Fall, please visit https://www.nextfall.com.au/.

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Crazing

Crazing

Crazing Rating

★★★★★

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Walking into the theatre space, we heard Helen Reddy’s song booming out, ’oh, yes, I am wise but it’s wisdom more than pain, yes I paid the price but look how much I’ve gained…’ On came Karli Evans initially playing modern Aila Driscoll, a business woman and more macho than the men because it is still a man’s world. Now don’t think this play is only for women, the men in the audience responded instantly recognising the men she was referring to as they have to deal with them as well. However; her character and the following historic female characters presented the physiological and psychological pain of a woman standing up for her rights, ethics, belief and pure love; swimming against the tide and often paying a price.

Oliver Brighton, Tech Director, provided the sound and lighting subtly changing the mood of each character via projection on a scrim. The set, a fading hotel room in the middle of a redevelopment project resisting progress, had torn wallpaper and a basic single bed and chair that provided a refuge for each character. It would cleverly change to reflect different characters and the decor of its era and without giving anything away, clever on-set costume changes reflected the fashion of the time.

 

Writer and producer Kerrie Simon-Lawrence has crafted an eloquent, humorous and fascinating series of monologues featuring four Australian women from different eras, each grappling with difficult decisions and the social constraints of her time, and directed by Lara Lightfoot. Mary Anne Monroe-Bentley, Molly Fink and Angie Sage are honoured for their stand and place in women’s history and fight for their identity. Karli alters her voice and posture to tell their stories and the audience believed in each change of persona.

With all of that, it is Karli who holds your attention as she switches from being the modern Aila to jump into each of the other women’s characters. The language changed in complexity and emotion and it was a ‘tour de force’ for one actor. She ebbed and flowed as a modern woman frustrated with the business world whilst juggling her attention to her love for her partner as she is challenged with making decisions about work and family.

The characters outline women’s need to make decisions about their bodies, their social status, how to walk through a dark park at night alone and even as a sex worker; why a condom is non-negotiable. The messages are still relevant and the monologue is arresting, emotional and even sometimes wryly humorous. The audience responded and were having discussions as we all exited the theatre. We were left wondering how Aila would manage what her next step might be and her stance as Helen Reddy sang,”I am Woman”.

To book tickets to Crazing, please visit https://whatson.cityofsydney.nsw.gov.au/events/crazing-by-escape-artists.

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Trophy Boys – Spirited Yet Sobering Satire

Trophy Boys By Emmanuelle Mattana

Trophy Boys By Emmanuelle Mattana Rating

★★★★★

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It is the Grand Finale of the Year 12 Interschool Debating Tournament, and a near-capacity Pip Theatre audience watch on as boys from the elite St Imperium College are in lockdown, preparing their argument that ‘feminism has failed women’. The twist? These boys are played by an entirely female/non-binary cast – and they are about to discover one of them has been anonymously accused of sexual assault.

Trophy Boys by Emmanuelle Mattana offers a fascinating and fearless account about privilege and power, where misogyny masquerades its motivation, even while avowing allyship. Friendships become fragile, with every man for himself, however the patriarchy is perennially protected. The 70-minute duration moves quickly, with script, performances and creative design each multi-layered and gelling well.

Despite a serious theme, there are plenty of laughs in Trophy Boys, largely at the expense of insecure teenage masculinity, elevated with keenly observed characterisation and funny physicality by the energetic ensemble, who make me forget I’m not watching a group of high school aged boys; Credit is due to Gabby Carbon as David, Emily Liu as Owen, Stella Peterson as Scott and Tayla Rankine as Jared, for bringing these characters to multi-faceted life. While on a certain level, this show is a send up of the students’ obnoxiousness and elitist entitlement, the performers each bring dimension to their roles, collectively deeply flawed yet human, with redeeming features like an old boys’ network to call on if all else fails, complete with a prominent lawyer as a father.

 

While these characters are undoubtedly problematic, they carry their own burdens too. The weight of expectation on their lofty aspirations is heavy, as they try to figure out their own authentic, independent identities; Scott and Jared seem like more than ‘just friends’ and a play with a multi-cultural cast explicitly discussing intersectionality invites reflection around social dynamics and how race may also benefit or disadvantage people and groups at an esteemed establishment like St Imperium. Only first produced in 2022, Trophy Boys explores timely themes, which feel safer coming from male characters played by female/non-binary performers, as they uncover behaviour that should not be tolerated but is concerningly normalised, and each of them questions the others, but is also questionable in turn.

Overall, Trophy Boys is a fine addition to an excellent 2026 programme for Pip Theatre. Director Anne Pensalfini and the entire creative team succeed wonderfully with this production, inviting our serious reflection with a humorous wink, in this spirited yet sobering satire. Highly recommended.

To book tickets to Trophy Boys By Emmanuelle Mattana, please visit https://piptheatre.org/trophy-boys/.

Photographer: Kenn Wylchi

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The Thunderbolt

The Thunderbolt

The Thunderbolt Rating

★★★★★

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Red Phoenix Theatre and Goodwood Theatre & Studios present the South Australian premiere of ‘The Thunderbolt’, written by Arthur Wing Pinero.

Not strictly a feminist story, ‘The Thunderbolt’ does have feminist themes. Set in 1908, society was seeing an emergence of the “new woman” – women who were striking out to achieve their own education, money, and life beyond the societal expectations of being a wife. Helen is the heroine, setting the example of such a woman at the time.

Helen is an illegitimate child getting her education and becoming an independent woman. Her world is turned upside down when she finds out her loving father, Edward, has passed away – and his will is nowhere to be found. Elisha Johnson brings the calm but intelligent Helen to life with her steadfast and consistent performance, playing the loving daughter with care as Helen navigates Edward’s family. The family which has not had the chance to get to know Helen before now. When we are introduced to the family, they have already begun planning how to divide Edward’s extensive properties and funds amongst themselves … without including Helen.

Michael Eustice, Steve Marvanek, and Joshua Coldwell are completely engaging with their roles of Edward’s two younger brothers and his brother-in-law, respectively. Commanding the room from their opening lines, hilarious with their reactions, every delivery felt natural and perfectly executed.

 

Annie Matsouliadis, Katie Packer, and Anne Doherty play dutiful wives, supporting their husbands and their ideas, and perfectly encapsulating the mean girl essence towards those not in their inner circle. Their humour, reactions, and mutterings add depth and a level of realism to each scene they grace.

Malcolm Walton and Jai Pearce bring some calm to the family, offering legal advice as they try to do the right thing by Edward. Their performances are steady and charming, as are Akira Hockley Miric and Tim Williams with their roles, which they portray with grace.

Jessica Corrie and Leighton Vog have the immense job of portraying stress, anxiety, and desperation – all of which they pull off with their fantastic physical and vocal skill sets. Their performances, both separately and together, will tug at your heartstrings.

Away from the actors, the stage lighting was simple but clearly well considered, with well-timed drops between scenes. The set design was elegant, and each set change was blocked out within an inch of its life, with backstage assistants and actors working and weaving together seamlessly. There were no sound issues, aside from the occasional quietly delivered line, which was infrequent and subtly adjusted with the actors following line.

The costumes were artful, well-fitted for each individual actor, and reminiscent of the fashion of the time. This author was pleasantly surprised to see the costumes for the married couples on the stage had matching colour schemes – a simple but visually striking way for the audience to keep track of the relationships with minimal effort.

‘The Thunderbolt’ is as relevant and witty today as it was in 1908. It runs for two hours with a 20 minute interval.

To book tickets to The Thunderbolt, please visit https://www.redphoenixtheatre.com/season/.

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