Directed By Green Room Award Winner, The Manager Is Me Hits Melbourne Fringe 2026

Feature-The Manager Is Me

VICTORIAN POETRY SLAM CHAMPION NEEDS TO SPEAK TO THE MANAGER. UNFORTUNATELY, IT’S HER.

Dayna Fallon’s husband is having a seizure on the bathroom floor. In the next room, her three daughters have unzipped a beanbag across the living room. On her laptop, a 7am Teams meeting wants to know if now is still a good time.

So she does what she always does. She manages the emergency, manages everyone else’s feelings, and schedules her own collapse for a more convenient time.

The Manager Is Me is a 55-minute solo collision of comedy, spoken word and theatre about the impossible job of holding everything together, and the woman discovering she is, somehow, the only person rostered on.

It marks the debut solo theatre work from writer-performer Dayna Fallon, 2025 Victorian State Champion of the Australian Poetry Slam and National Finalist at the Sydney Opera House.

Her blood type is CBF. Her sex life is on Afterpay. She is an accountant, a cook, an unlicensed paediatrician, a household hostage negotiator and a goddamn magician and still the only person in the house who knows where anything is, what everyone needs, and when it’s due. Everyone except herself.

It is a show for anyone who has ever typed “haha all good x” while their life was coming apart in real time.

Built from the slam poems that made Fallon’s reputation, the show stages one impossible morning that refuses to stop happening to her. She wrote it after years of running a house at maximum capacity, caring for a husband with complex health needs, and still feeling like she was falling apart, until the absurdity deserved a witness rather than an apology.

“I wrote this because I’ve made my children laugh to cover the sound of my husband’s seizures,” Fallon says. “I’ve lived the truth of ‘if you don’t laugh, you’ll cry’ and I started wondering how many women are doing that kind of emotional labour in silence.

The Manager Is Me is Directed by Green Room Award winner Cathy Hunt.

For audiences drawn to the sharp humour of Fleabag and the fury of Paris Paloma’s Labour, The Manager Is Me is funny first, until suddenly it isn’t, a brutal, brilliant solo work about invisible labour, survival humour and the women who make the impossible look manageable.

THE MANAGER IS ME
Venue: The Motley Wherehaus. The Salon, as part of Melbourne Fringe 2026
Performances:
Thu 8 October: 6pm
Fri 9 October: 6pm
Sat 10 October: 6pm
Thu 15 October: 6pm
Fri 16 October: 6pm
Sat 17 October: 3pm & 6pm

Running time: 55 minutes (no interval)
Tickets: Full $35 / Concession $28
To book: https://www.themanagerisme.com/

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Holy Fool

Holy Fool

Holy Fool Rating

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Holy Fool follows the story of Francis of Assisi (Fabio Motta) as he lives a complex turbulent life. Despite the title, I found the character of Francis to be a Holy Gentleman rather than fool, although sometimes Motta’s impressive adlib ability to engage the audience in silly and fun ways did err on the side of fool. Directed by Giovanni Fusetti, Holy Fool shared a consistently strong optimistic message, that human actions are powerful and can impact the natural world, and that our hero, Saint Francis, can and did make a difference.

Given the nature of the high rate of audience interaction for Holy Fool, the composition of the audience is important to the story Motta and Fusetti are telling. The evening I saw the show the audience was full of people speaking Italian, including a priest directly to my right! The audience already wanted Francis to succeed, and Motta made it easy to root for him. Throughout the show Motta encouraged the audience to energise and support Francis on his arduous journey.

 

Fusetti and Motta boldly choreographed and enacted an in-depth depiction of war in a one man show. It was daring. Throughout the show Motta transformed into different characters, the God father, the pope, Francis’ own father. Motta was entertaining and enthusiastically embodied each character in unique and exciting way. Motta embodied drama, danger, and offensiveness with only one man on stage. Motta expertly pivots Francis’ life purpose of glory and notability to caring for the poor, and is thus labelled a ‘Holy Fool’. In pursuit of caring for the poor Francis asks the audiences to give up their worldly possessions. In a hilarious and silly turn of events Francis donates all the audience members belongings to a ‘poor’ person in the front row. Motta was playful, and continued to thoughtfully interact with the audience throughout the show.

Francis asked “who would I be if I stripped all that defined me?” This came during his distinct turn towards helping the poor, where Francis aimed to become an “instrument of peace.” The shift in tone for the show was mirrored by the atmosphere within the audience, as the crowd sufficiently bought into the ideas of the show’s new thesis. Francis preached caring for others, caring for animals, and caring for nature. He emboldened the audience to follow his lead, and charismatically preached his newfound beliefs. He was earnest in his plead for care and connection. The style of physical comedy and audience interaction lead to the climax of the show where Francis sincerely asked the audience to commit to his new ideas and values, and then simply scooted away. The audience did affirm their commitment to the Holy Fool.

To book tickets to Holy Fool, please visit https://www.theatreworks.org.au/2026/holy-fool.

Photographer: Darren Gill

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More Cast Revealed For The Shawshank Redemption

Feature-The Shawshank Redemption

As final performances for the Sydney and Melbourne seasons for the Australian tour of The Shawshank Redemption go on sale today, additional cast members were revealed. The stage adaptation of one of the most popular and enduring films of all times, The Shawshank Redemption will play in Sydney from 2-31 January 2027 and Melbourne from 3 February to 7 March, before moving to Perth, Adelaide and Brisbane. Head to ShawshankLive.com.au to buy tickets.

Stephen Anzo (Headless, The Big Fix) will be playing the role of Nelson, alongside Laurence Boxhall (The Mousetrap, Lord of the Rings) as Tommy and Soren Jensen (Harry Potter and the Cursed Child, The Curious Incident of the Dog in the Night-Time) as Hadley. Stephen Lopez (Pirates of the Caribbean: Dead Men Tell No Tales, Fisk) will play Rico, Blessing Mok (Bad Blood Blues, NCIS: Sydney) is Entwistle, and Nathan O’Keefe (The Importance of Being Earnest, Betrayal) plays Rooster. Completing the cast are Mark Saturno (The Normal Heart, A View From The Bridge) as Dawkins and Jeremiah Wray (Macbeth, A Few Good Men) as Bogs Diamond.

They join acclaimed television, film and theatre actor David Berry (Outlander, A Place To Call Home, Home and Away) who will play Andy Dufresne, prolific stage and television actor Bert LaBonté (The Book of Mormon, Colin From Accounts, Cloudstreet) playing “Red”, and one of Australia’s most recognised screen actors Rodger Corser (Doctor Doctor, Rush, Channel 9’s The Floor) in the role of the Warden.

The Shawshank Redemption is a powerful stage production that places you just metres from the action. Raw, intimate and deeply moving, this is theatre at its most compelling – where every moment unfolds live before your eyes. Based on Stephen King’s celebrated novella, this gripping adaptation tells an unforgettable story of hope, friendship and the resilience of the human spirit.

Wrongly convicted of the brutal murders of his wife and her lover, Andy Dufresne is sentenced to life imprisonment in the notorious Shawshank prison. As he navigates the harsh realities of incarceration, he forms an unlikely friendship with fellow inmate Red, discovering that even in the darkest of places, hope can endure. But when the corrupt Warden seeks to exploit Andy’s talents for his own gain, a quiet and daring plan begins to emerge, one that will challenge the very walls of Shawshank itself.

“Electrifying – it truly is a must see show” – The Observer
“This production has nailed it … Gripping live theatre” – Broadway World

Adapted for the stage by Owen O’Neill and Dave Johns, and directed by David Esbjornson who directed Angela Lansbury and James Earl Jones in the Australian tour of Driving Miss Daisy, this acclaimed production captures the emotional power and humanity that have made The Shawshank Redemption one of the world’s most enduring stories.

The 1994 film adaptation, nominated for seven Academy Awards, has become one of cinema’s most beloved classics. Now, experience a story of hope, friendship and redemption brought vividly to life in an unforgettable live theatrical event.

THE SHAWSHANK REDEMPTION
Adapted for the stage by Owen O’Neill and Dave Johns, based on the novella Rita Hayworth and Shawshank Redemption by Stephen King
Directed by David Esbjornson
Produced by Impresario Productions, by arrangement with Bill Kenwright Limited
By arrangement with Knight Hall Agency Ltd in association with Paradigm Talent Agency

SEASON DETAILS

SYDNEY
Venue: Theatre Royal Sydney
Season: 2 – 31 January 2027
Performance Times: Tues-Thurs 7pm, Fri-Sat 7.30pm, Wed 1pm, Sat 2pm, Sun 1pm
Prices: From $89.90 (Transaction fees apply)
Bookings: ShawshankLive.com.au or 1300 163 808

MELBOURNE
Venue: Playhouse, Arts Centre Melbourne
Season: 3 February – 7 March 2027
Performance Times: Tues-Thurs 7pm, Fri-Sat 7.30pm, Wed 2pm, Sat 2pm, Sun 1pm & 6pm (schedule varies weekly)
Prices: From $89.90 (Transaction fees apply)
Bookings: ShawshankLive.com.au or call 1300 182 183

PERTH SEASON
Venue: Regal Theatre
Season: 12 – 28 March 2027
Performance Times: Tues-Thurs 7pm, Fri-Sat 7.30pm, Wed 1pm, Sat 2pm, Sun 1pm & 6pm (schedule varies weekly)
Prices: From $89.90 (Transaction fees apply)
Bookings: ShawshankLive.com.au or 08 9381 9943

ADELAIDE SEASON
Venue: Her Majesty’s Theatre
Season: 1 – 11 April 2027
Performance Times: Wed-Thurs 7pm, Fri-Sat 7.30pm, Thurs 1pm, Sat 2pm, Sun 1pm & 6pm (schedule varies weekly)
Prices: From $89.90 (Transaction fees apply)
Bookings: ShawshankLive.com.au or phone 131 246

BRISBANE SEASON
Venue: Glasshouse Theatre, QPAC
Season: 28 April – 9 May 2027
Performance Times: Wed-Thurs 7pm, Fri-Sat 7.30pm, Wed 1pm, Sat 2pm, Sun 1pm & 6pm
Prices: From $89.90 (Transaction fees apply)
Bookings: ShawshankLive.com.au or phone 136 246

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Hayes Theatre Co Unveils Its 2027 Season

Stylized retro city skyline with a heroic figure standing to the right, symbolizing urban leadership and ambition.

Hayes Theatre Co today announced its 2027 season, the company’s biggest yet, expanding beyond its Potts Point home with work presented at larger Sydney venues under the banner Hayes in New Places while continuing an expansive program at the Hayes Theatre. Artistic Directors Richard Carroll and Victoria Falconer, in their final year as ADs, will lead a season of new work, reimaginings, classics and major theatrical events.

Leading the season is Steven Kramer’s Phar Lap: The Electro-Swing Musical, starring Joel Granger, returning to Sydney for an expanded staging at Carriageworks from 8 July to 8 August ahead of a national tour culminating at Melbourne Theatre Company. Phar Lap previously received rave reviews, sold-out seasons and awards; the 2027 staging is on a larger scale.

The Foundry Theatre will be transformed into an underground bar in October for Mack The Knife, a major new work by Richard Carroll, Victoria Falconer and Jordan Shea that re-imagines The Threepenny Opera. Beginning as an immersive promenade experience, it evolves into a rock-cabaret musical shaped by the audience each night.

At the Hayes Theatre in Potts Point, the season of eight productions spans cabaret, comedy, opera, contemporary musical theatre and drama. The year opens with Peter Allen: Not the Boy Next Door, a new cabaret-concert directed by Hayden Tonazzi with arrangements and musical direction by Steven Kramer (three-week season from 13 January). February and March feature Claudia Barrie’s Lucky Stiff, followed by the return of House of Rot after its sell-out at the 2026 Winter Cabaret Festival. May presents the Australian premiere of the folk epic Swept Away (directed by Drew Livingston), followed in July by Jacinta John’s production of Pulitzer Prize-winning Next to Normal.

In August Matthew Barclay presents a technicolour reimagining of Mozart’s Così fan tutte or The School for Lovers. September brings Cameron Mitchell directing and choreographing the sci-fi satire Be More Chill, and the season closes with Flowers for Mrs Harris starring Rachael Beck and directed by Julia Robertson.

Hayes will again present two major festivals: the Festival of New Work returns for its fourth year extended to three weeks, and the Winter Cabaret Festival returns in June rebranded as Flare. Regular Hayes events include three Neglected Musicals (1776 in March, A Funny Thing Happened on the Way to the Forum in May and Dames at Sea in October), Theys at the Hayes and Victoria Falconer’s Parlour Night for Mardi Gras 2027, plus returning favourites Musical Bang Bang, Home Grown, An Evening With and Carols by Cabaret. Subscriptions are on sale from Monday 14 September, with single tickets on sale at various times in coming months. Phar Lap single tickets are available now from https://hayestheatre.com.au/event/phar-lap-2027-carriageworks/.

With its most expansive program yet, Hayes Theatre Co’s 2027 season is presented as an invitation to discover music theatre in new places, in new forms and at every scale while continuing to champion artists, audiences and Australian work.

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