The Wolves

The Wolves

The Wolves Rating

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3

The Wolves began with one of the girls warming up for soccer. As the soccer player #13 (Kristie Kriaris-Tsotras) warmed up, so too did the audience. The Wolves is about a group of girls on an indoor soccer team together, and explores what it’s like to be part of a team, and to be a teenage girl surviving amongst her peers. Written by Sarah Delappe, The Wolves delicately balances the exploration of how young women interact, and what it means to part of something bigger than oneself.

The set was clean and minimalist, with artificial turf across the whole stage, designed by Tom Vulcan. The bright lighting (also designed by Tom Vulcan) neatly established the stage as an indoor soccer field. The stage was well established, unmistakably, as a place for the soccer team to mingle, play, and be The Wolves.

The choreographed introduction on the show was well synced and impressive. The entire ensemble warmed up together, and powerfully set the expectation of how the soccer team worked together and moved as one across the stage. Throughout the show there were moments where the entire ensemble warmed up, and the physicality of the movements adds richly to the identity of the girls in the show. They are there as a group, moving together.

 

 

The complex group dynamics were established early into the play. There was consistently overlapping dialogue, that was conducted with an impressive amount of skill. The overlapping dialogue felt authentic to the experience of teenage girls. It meant that the audience always missed a little bit of context or conversation, adding to the feeling of being a teenage girl, never quite knowing what was going on, always slightly disoriented. This also effective built the tension between the characters, as they gossiped and bullied each other.

The different members of the soccer team discuss their lives, politics and hint at the complexity of socioeconomic differences between the team members. These topics of discussion lead naturally to awkwardness, both genuine and manufactured. The tension built and developed as the interpersonal conflict and affection escalated amongst the teammates. The ensemble cast expertly weave the complex relationships of the different team members, exhibiting impressive and excellent chemistry.

Ultimately The Wolves asked the audience to ponder if we should care about what others say about us, or what it means to be a team. When I leave a show asking myself questions, I know I’ve been thoughtfully and meaningfully engaged.

To book tickets to The Wolves, please visit https://www.theatreworks.org.au/2026/the-wolves.

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Last Actor Standing

Last Actor Standing

Last Actor Standing Rating

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1

Last Actor Standing is a recurring comedy improv game show where four actors compete to become the Greatest Actor Of All Time. Created by Lost Theatre Company, the show offers a completely different selection of guests and games every week, guaranteed to delight, entertain and sometimes shock audience members. Think “Who’s Line Is It Anyway” paired with “Taskmaster”, grounded deeply on the Melbourne independent theatre scene.

This Friday I had the pleasure of venturing into Club Voltaire to watch Joshua Bruce, Lilian Hudson, Jacob Kuek and emergency cover Ana Swadling battle through three rounds of on the spot comedy acting, chasing the crown awarded to the Greatest Actor Of All Time. From improvised plays and villainous plots to company catchphrases and long forgotten technology, these actors took a solid swing at everything that was thrown at them. All actors put on a good show (and congratulations to the recently crowned Lilian Hudson) but unfortunately I cannot recommend you go and see them (though highlights are likely to get posted on instagram), because every Last Actor Standing show boasts a completely new cast of Melbourne Theatre makers. This week, the cast featured actors from Lost Theatre Co.’s upcoming performance of Too Much Light Makes The Baby Go Blind (a clever bit of promotion, if ever I saw it) but other weeks, the show has welcomed improvisers, actors and musicians from a wide range of beloved Melbourne theatre productions.

 

 

I have been lucky enough to see a few Last Actor Standing shows and credit must be given to reoccurring hosts and co creators of the show Noah Sargent and Jay Watts who, along with writers Pip Wiseman and Alex Watts, repeatedly come up with new ways to test (and torture their actors) in a format that remains consistent with shows brand without becoming repetitive and allowing for a recurring audience. Noah and Jay have stated that their intention with Last Actor Standing was not only to create a show that would entertain audiences, but also a show that would provide connections for Melbourne artists and promotional opportunities for independent theatre. In doing so, they have created a vibrant network of young creatives who are defining the next generation of independent performing arts in Melbourne. If you want the opportunity to experience a future pillar of the Melbourne independent theatre scene at its base level, their Last Actor Standing Championship round (featuring all the winners from this season), is fast approaching. I highly recommend it as an entertaining way to spend a Friday night.

To book tickets to Last Actor Standing, please visit https://www.losttheatreco.com/.

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All the Music, Less of the Mystery: MJ The Musical Hits Crown Theatre

MJ: The Michael Jackson Musical

MJ: The Michael Jackson Musical Rating

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3

Michael Jackson is everywhere right now, in movies, musicals and on TikTok, and it’s hard to believe seventeen years have passed since his death. MJ The Musical arrives at Crown Theatre as exactly what it sets out to be: a joyful, spectacular celebration of one of pop’s most extraordinary careers. The various controversies of Jackson’s life are acknowledged briefly and then set aside. This show’s purpose is the music, and on that front it delivers in abundance.

The story plants itself firmly in the middle of the Jackson legend: the high-stakes preparation for the 1992 Dangerous World Tour. The production amps up the drama, depicting Michael risking everything including Neverland itself to mount the show he envisioned, and it works as a theatrical device even if history tells a slightly different story.

The narrative moves through flashbacks, tracing the through-line between the uncompromising father who drove the Jackson Five and the equally uncompromising adult Michael who would mortgage his world for his art. The structural device works well, giving the show genuine emotional grounding without slowing the momentum. The controversial Don King reunion tour gets a brief mention, a nod to the murkier corners of the Jackson story, but the production is ultimately more interested in celebration than examination. What you get instead is the music, and plenty of it.

 

 

Billie Jean and Smooth Criminal land with exactly the weight you’d expect, the Jackson Five numbers give the flashback sequences genuine warmth and a touch of bittersweet nostalgia, and Thriller earns its place among the highlights without swallowing the show whole. There is more besides, spanning a career’s worth of era-defining moments that had the Crown Theatre crowd singing along from the opening number. The setlist alone is worth the ticket price.

The lighting throughout is spectacular, dynamic and precise, building toward a closing sequence that delivers a proper visual spectacle fully worthy of the Dangerous era itself. Ilario Grant carries the lead with quiet authority, bringing a softness to Michael that never tips into imitation. Derrick Davis does strong double duty as both the domineering Joseph Jackson in the flashback sequences and the production manager in the present-day rehearsal scenes, a structural parallel that gives the show much of its emotional spine and one of its most interesting ideas. The ensemble brings full commitment to every number, and it shows.

The Crown Theatre crowd needed little encouragement. There was hollering at key moments, warm applause that lingered after each number, and a room full of people visibly reconnecting with music that shaped them. The audience skewed toward those who lived through the Jackson era firsthand, and the nostalgia was palpable and entirely earned. By the final bow, a standing ovation rose naturally, and then the cast returned for one more number, just when you thought it was done.

For the dedicated MJ fan, this is an essential night out. For everyone else, it is an enormously entertaining show that plays the favourites, fills the room with sound and light, and sends you out smiling. Don’t go looking for deep philosophy. Just go.

To book tickets to MJ: The Michael Jackson Musical, please visit https://mjthemusical.com.au/tickets/perth/.

Photographer: Daniel Boud

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The Playboy of the Western World

The Playboy of the Western World

The Playboy of the Western World Rating

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1

First performed in Dublin in 1907, The Playboy of the Western World was written by Irish playwright John Millington Synge, and so scandalous for its time, it was met with protests. Deemed a traditional Irish comedy, the three-act play translates well to modern society as a timeless masterpiece.

In a nutshell, the playboy, Christopher Mahon (Garrison Cox), shows up one night at Pegeen’s (Rebekah Hannah) tavern with a questionable past. He boasts about a grandiose story involving his father, Old Mahon (Ron Arthurs), which elevates him to hero status and gets all the ladies of the village in a flutter, including Widow Quin (Siobhan Vincent), Susan Brady (Kirsty Plews), Honor Blake (Piper Gibson), Nelly (Olivia Keary) and Sara Tansey (Isabella Di Giovanni). In fact, Christopher is such a hit with the ladies that it causes much angst among the men, especially Shawn Keogh (Ian Staunton), who has been promised to Pegeen.

Michael James Flaherty (Gavin Crane), Jimmy Farrell (Stuart Ridgway), Philomena Cullen (Dame Kerry Goode OAM) and Philly Cullen (Ben Vaughan-Sanders) are innocent by-standers, for the most part, who bemusedly watch it all play out from the sidelines.

Reigning from around the globe, mastering the Irish accent is a testament to the talented cast that I really enjoyed once I relaxed into its musicality and lyrical rhythm. 

 

With all three acts performed in the tavern, with walls crafted from papier-mache, it’s a cosy setting, made all the more atmospheric by Perth’s chilly nights as the train rattles past and planes thunder above. A big thanks to the set design crew, including Jake Newby (also lighting design), Graeme Dick (also stage manager), Nera Camponovo and Paris Jenner.

Directed and performed by Siobhan Vincent, who did a brilliant job of bringing the story to life at the historic Garrick Theatre. Acknowledgement must go to her assistant, Marion West, who also handled props and set dressing, and to Sarah House for stepping in for Siobhan during rehearsals.

Isabella Melbin (assistant stage manager), Conor Barclay (lighting operator), Ricky Penrose (sound operator) all deserve a round of applause. Tamar Basini’s talent and attention to detail for the costumes took me on a journey to the early 1900s.

The Playboy of the Western World is a scintillating tale of seduction, betrayal and violence and as relevant now as it was in 1907.

Performed at the Garrick Theatre in Guildford, get your tickets here. Shows start at 7.30pm from 4th to 20th June, with matinee sessions at 2pm on Sunday 7th, 13 & 14th June.

To book tickets to The Playboy of the Western World, please visit https://www.TAZtix.com.au/garricktheatre/.

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