theatre - Whats The Show

A Pride-full Celebration Of Unprecedented Talent! Happy Pride!

03/06/202602/06/2026 Chantal Harrison Writer🥈🎭😂

Homo Grown Rating

★★★★★

Click if you liked this article

Imagine crossing the rainbow street and walking into Qtopia on the first day of Pride month, only to be greeted by the one and only Kala Gare’s and Kala’s incredibly beautiful, smiling face! Well, I don’t have to imagine, because that’s how this year’s Homo Grown kicked off for me.

Home Grown Australia, are pioneers championing new theatre and musical theatre works in Australia. What started as a backyard pub meeting, now has the backing of MTIA and the Australian Government. Founded by Nick Hedger and Ben Nicholson, Home Grown have nurtured beloved Australian new works such as My Brilliant Career, FANGIRLS and A Trans Woman On The Internet, Crying.

Homo Grown is a Pride-full celebration of queer Aussie new works to be produced, to come and in progress. The queer celebration in the room was electric, not least of all because the multi-talented Kala Gare was guiding the ship.

Kala kicked us off with an original “Hello” that speaks to “Letting freedom flow”, which was a great set up for the night. Kala’s skillful piano along with an incredible voice and sharp, relatable lyrics had us strapped in for “a wild ride, to say the least.”

Next up was Phoebe Rodger with the title song from upcoming “Phoebs, You’re A Lesbian” on June 10th – 12th at QTopia. Described as “a letter to my younger self”, this song was earnest, clever, cute, hilarious and relatable. Much like Phoebe. The second song was from a “yet to come” musical, it took us on a humorous journey of Phoebe’s ideal career discovery through a career’s test.

Cassie Hamilton and Nic Prior then took to the stage for a snippet from Afterglow by Sheanna Parker Russon & Lillian M. Hearne which will be showing at the Belvoir and is described as a “Barbershop rom-com”. Lillian introduced the piece and began to play, while Nic tore us into their deep, tender and sombre beginning. Cassie joined in and the duet echoed the lyrics “With you I fit”. Nic’s tender fragility of emotion is in stark contrast to the power of their voice, while Cassie’s sombre moments are only magnified by the reality of her powerhouse vocals. Cassie took to a solo called “Normal Michael” in which we got more of that voice, and what I can only describe as four seasons in one face, as we join the emotional journey of the character Cassie is embodying.

Matt Hawke then took us into their song from upcoming “Beautiful Lies” on June 11th-14th at the Substation Qtopia. Described as one of the lies unpacked in therapy, we deep dive into Matt’s 20 year old identity exploration wrapped in self-deprecating humour. None of us saw the sharp turn from this jaunty piano-pleaser into an acoustic guitar heartwrenching homage to Matt’s deceased dog. It left the majority of the room in tears, and awe at its beauty.

Robbie Alexander and Alex Gonzales had to wipe away tears and reset for their performance from “Twenty-Something”. Alex played the character, Charlie’s Mum, deadpanning that “I’m wearing a cardigan so you know I’m a mum.” and meeting a lot of laughter. Alex performed “Long Story Short” with power, emotion and a lot of talent. Robbie performed “Delightfully Gay”, showing us the tug of war between Angel and devil on the shoulder and reinforcing the lyrics “There’s no such thing as ‘a little bit much’!”

Lincoln Elliot joined forces with Kala, Natalie Abbott, Gracie Rowland, Nead Cristaudo, Alex Gonzales, and friends for a snippet from the “yet to be announced” emo-rock heist. The performance of “Creativity Is An Island showcased exceptional musicianship and a palpable musical love and collaboration between the group.

Kurt Kansley and Oli Lidert were missing in action, enjoying their time in Moulin Rouge, but Katie Staddon did them proud and then some with “More Than Words On A Page”. Katie’s vocal range is beyond comprehension, the melodies sublime. The swift shift from deep soul to angelic was out of this world.

Meg Rob took us on a solemn and sincere ride with “Step Into Infinity”, showcasing an ability to embody the characteristics of an introvert grappling with personal trauma, while knocking our socks of with some big belts. Those who saw Meg in Jagged Little Pill will be familiar with this ability to take an audience on a wonderful and surprising ride. Catch Meg’s show “Make It Queer” 25th-26th June at Loading Dock, Qtopia.

We finished with the cast and creatives from Nails 25th-27th June at The Eternity Playhouse. Created by Sophie Davis and Laura McDonald, and composer Harry Collins. This netball based comedic musical has a lot of balls (see what I did there?). Nead Cristaudo had us captivated as the coach, mixing brilliant comedic timing with powerful vocals.

Then the large ensemble cast and creatives from Nails finished us off on a high with Natalie’s gorgeous voice and some epic harmonies being the highlights of this final piece. It was an incredible finish to a night of unprecedented talents and not-to-be-missed new works! Make sure you catch these and as many Pridefest shows as you can this month. More than ever, we need to join together and support each other. Happy Pride!

To book tickets to Homo Grown, please visit https://tickets.qtopiasydney.com.au/Events/Homo-Grown.

Spread the word on your favourite platform!

Eurydice

31/05/2026 Tam Dahmen⭐

Eurydice Rating

★★★★★

Click if you liked this article

Melbourne Shakespeare Company’s production of Eurydice at fortyfivedownstairs is a remarkable theatrical achievement, an ambitious, visually poetic and emotionally resonant work that lingers long after the final moments on stage. Written by acclaimed American playwright Sarah Ruhl, whose celebrated works include In the Next Room (or The Vibrator Play) and Stage Kiss, Eurydice offers a contemporary reimagining of the ancient Greek myth of Orpheus and Eurydice. In the hands of director Gary Abrahams, this modern classic becomes a deeply moving exploration of love, loss, memory and the spaces between worlds.

Ruhl’s script cleverly balances heartbreak with humour, weaving together lyrical language, surreal imagery and witty commentary on the challenges of translating classical myths for contemporary audiences. This production embraces those contrasts wholeheartedly. The result is a theatrical experience that feels both intellectually stimulating and emotionally accessible, inviting audiences into a world where the ordinary and the extraordinary coexist.

Director Gary Abrahams once again demonstrates why he is one of Australia’s most inventive theatre-makers. His vision for Eurydice is bold and imaginative, creating a production that seamlessly blends music, visual storytelling and dreamlike theatricality. Every creative choice feels purposeful, contributing to a rich sensory landscape that captures the mythic scope of the story while remaining grounded in its deeply human emotional core. Abrahams crafts a world that is at once strange and familiar, beautiful and heartbreaking.

The cast delivers exceptional performances across the board, with each performer bringing a distinct energy and presence to the stage. Special mention must go to Aisha Aidara in the titular role. Aidara’s portrayal of Eurydice is fearless and deeply affecting. Through both voice and movement, she captures the character’s vulnerability, intelligence and passion with extraordinary nuance. Her performance is filled with emotional honesty, allowing audiences to connect profoundly with Eurydice’s journey between love and loss.

Equally captivating is Devon Braithwaite as the Lord of the Underworld. Braithwaite commands the stage with magnetic charisma, bringing humour, menace and unpredictability to the role. His performance provides many of the production’s most memorable moments, skillfully balancing the play’s darker themes with its delightfully absurd wit.

What makes this production particularly successful is its ability to touch the soul without sacrificing any reverence for the classical myth. It trusts its audience to engage with its complexities while offering moments of genuine wonder and beauty. The combination of evocative design, haunting music and exceptional performances creates an atmosphere that feels almost dreamlike, as though the audience has stepped into a living poem.

Melbourne Shakespeare Company has delivered a production that honours the spirit of Orpheus and Eurydice’s extraordinary love story while carving out its own unique voice. Eurydice is a masterclass in contemporary theatre-making. This production is thought-provoking, visually stunning and emotionally powerful. It’s little wonder that this season is likely to sell out. This is theatre at its most imaginative and affecting, and it is absolutely not to be missed.

To book tickets to Eurydice, please visit https://www.melbourneshakespeare.com/eurydice.

Photographer: Nick Mick Pics

Spread the word on your favourite platform!

To Kill a Mockingbird

31/05/202631/05/2026 Anastassia Gerakas🚀🎭🎬

To Kill a Mockingbird Rating

★★★★★

Click if you liked this article

To step into the Genesian Theatre for their production of ‘To Kill a Mockingbird’ is to be quietly unmoored from the present and drawn into the humid, moral gravity of the 1930s American South. Harper Lee’s Pulitzer Prize-winning classic has long stood as a pillar of American literature—a piercing examination of the human conscience—and under the masterful stewardship of director Theo Hatzistergos, the weight of that legacy is handled with both reverence and raw, visceral power.

The staging is an act of immersive alchemy. By allowing actors to drift through the auditorium, Hatzistergos dissolves the barrier between stage and spectator. We are no longer mere observers; we are neighbors on the porch, witnesses to a small town’s slow decay into prejudice. The set, a skeletal Alabama street, breathes with the heat of a bygone era, creating a landscape where innocence is constantly besieged by the shadows of social caste.

At the heart of this storm is Barry Nielsen’s Atticus Finch, a performance defined by a quiet, towering dignity. He is the anchor in a sea of intolerance, teaching his children that character is the only true currency of a soul. Beside him, Brigid Jeffries gives a performance as Scout that is nothing short of transcendent; she captures the sharp edges of childhood curiosity and the dawning, painful awareness of an adult world’s cruelty with breathtaking authenticity.

The narrative pivots on the trial of Tom Robinson, rendered with shattering vulnerability by Ibrahim Conteh. When the verdict falls, it is not just a scene from a play; it is a profound wound inflicted upon the audience’s sense of justice. It reminds us that courage is not the absence of fear, but the willingness to stand in the path of an oncoming storm when no one else will.

Yet, it is the title that lingers most poignantly in the air long after the final curtain. The mockingbird—that most fragile emblem of pure, selfless spirit—asks nothing of us but to listen to its song. It symbolizes the innocent, those who exist only to bring beauty into the world, and whose destruction is the ultimate mark of human failing. As the play unfolds, we are reminded that these “mockingbirds” are the keepers of our collective grace. To witness their harm is to lose a piece of our own humanity; to protect them is the only path toward redemption.

The Genesian Theatre has not merely produced a play; they have conjured a haunting, necessary mirror. We departed the theatre with a heavy heart, bruised by the injustice we witnessed, yet galvanized by the flicker of courage that remains. This is a production that does not let you look away, and in that gaze, we find the urgent reminder that kindness is a fragile, precious thing—one that must be guarded, defended, and cherished above all else.

To book tickets to To Kill a Mockingbird , please visit https://genesiantheatre.com.au/events/to-kill-a-mockingbird/.

Spread the word on your favourite platform!

A Look At Love Again In Neil Simon’s Play ‘Chapter Two’

31/05/202631/05/2026 Linda Lokhee🏆💎🔥🦉🎭

Chapter Two Rating

★★★★★

Click if you liked this article

Chapter One of your life – if you are lucky, you may date, find your ‘person’, your one true love and live happily ever after. But what happens if that person isn’t there anymore? Do you find another True Love? Do you deserve a second chance at love? “chapter two”, written by Neil Simon and directed by Moja Band, is a fast-paced play exploring the human depth of emotional self-introspection.

Neil Simon is widely regarded as one of the most successful playwrights by his audience and peers. Over his career, he wrote more than 30 stage plays, many of which were adapted into major motion pictures – a rare achievement that highlights his influence on both theatre and film. Simon’s work earned him significant critical respect, reflected in his record for the highest combined number of Oscar and Tony nominations received by any writer in show business history. Having written comedies such as the well-known plays The Odd Couple and Biloxi Blues, I was looking forward to seeing the Hunter’s Hill Theatre’s production of “chapter two”.

When grieving widower George (Daniel Ferris) returns from an overseas trip that was meant to be healing following the loss of his beloved wife Barbara, his brother Leo (Simon Pearce) sets him up with Jennie (Laura Stead) who had gone through and come out the other side of a divorce. Though at first reluctant to return to dating, George relents and picks up the phone to call Jennie. What follows is a surprisingly strong connection between the two characters and they agree to meet that day in George’s apartment. A whirlwind romance blossoms during the first act leading to an unexpected (from the audience’s point of view) engagement after only knowing each other two weeks. Treated to the witty dialogue with the trademark one liner sharp comedic lines of Neil Simon, carried off with just the right amount of nuance and confidence by the two lead characters, I was hooked and asking myself, “where does it go from here?”.

Meanwhile, Jennie’s best friend Faye (Margareta Moir), a brassy actress unhappy in her loveless marriage, longs for attention and affection. Moir highlights Faye’s dramatic lunge into what she hopes will be a cloak and dagger affair with George’s brother Leo, a busy press agent. Pearce leans fully into the role of Leo, a smooth-talking philanderer (and proud of it!) and both he and Moir together deliver the lighter comedic scenes in contrast to some of the more complex themes his younger brother and Jennie are experiencing.

The second act sets out to explore some of these emotionally conflicting themes as George deals with his unresolved immense guilt about moving forward with his life with Jennie. I felt the weight of these heavy scenes as the actors encompass their characters.

Only two months ago, Ferris co-directed The Heartbreak Choir with Pymble Players, which I saw and loved. He quickly switched hats from director to actor onstage, with an outstanding performance playing all the complicated highs and lows of George. “chapter two” was semi-autobiographical, echoing similarities of Neil Simon’s life. Like his character, Simon was already a successful writer when his wife of twenty years passed away from cancer. He met and married his second wife just three months after she died. Drawing from his own guilt and subsequent pulling away from his second wife in the months shortly after their marriage, it is no wonder the dialogue felt so real and raw.

Jennie is left with the emotional fallout of George’s unhappiness during their honeymoon and on the return to their apartment. Stead’s performance led me to be cheering for her character to have a happy life as when we first met Jennie, she was bright, a real sweetheart and full of life. There were plants all around her apartment and from the first telephone conversation, Jennie’s optimism and sweetness was apparent. In the second act, Jennie stood up to George when he was saying some hurtful things to her, and the strength in these scenes showed us that she would fight for George because she loved him, and that she had the confidence to not be a replacement wife but be loved for who she is.

Stead delivers a commanding performance as Jennie, capturing her fierce independence, yet also her raw vulnerability. I had seen Stead some time ago performing the lead role in Hunters Hill Theatre’s “The Ballad of Maria Marten” and I remember that I was impressed by her acting then. It is to her credit that I didn’t recognise she was the same actress until I read her bio in the program, as that character was so different from the current character she was portraying; a testament to Stead’s acting.

The stage was divided into half, with each representing George and Jennie’s apartments. The lighting design by Antony Read worked well, using different types of light and strengths to highlight each. The sound design by Peter Tucker brought out the emotional moments in the play, with songs from the 1950’s lyrics delivering subtle messages to the audience. Well done to the lighting and sound operators Wayne Chee and Oliver Davies on the night I attended the play.

“chapter two” is a witty and emotionally raw masterpiece. Book your tickets to see Hunters Hill Theatre’s performance of this deeply moving play, which invites audiences to witness a story of self-reflection after tragedy and the courageous pursuit of true happiness, the second time around.

Season: 29 May 2026 – 21 June 2026
Running Time: Approx 2 hours with a 15 minute intermission
Club Ryde Ex. 728 Victoria Road, Ryde.
Tickets: www.huntershilltheatre.com.au

To book tickets to Chapter Two, please visit https://www.huntershilltheatre.com.au/.

Spread the word on your favourite platform!

Spread the word on your favourite platform!

Spread the word on your favourite platform!

Spread the word on your favourite platform!

Subscribe to What's The Show

Connect Online