‘Mil-aa-qa’ is a live studio cooking show, written and performed by Jude Soussan at The Blue Room Theatre. It was a pleasantly different experience from beginning to end. Jude, being the main character of two, explores food, chronic illness, culture and self-love, through an intimate and deeply personal lens, while being filmed by camera operator and AV assistant, Alleyne Aviles. The show within a show, reflects on how cooking and sharing meals can become one of the purest expressions of care, especially when living with dietary restrictions like coeliac disease. If cooking is your love language, you will also resonate with this show.
‘Mil-aa-qa’ transformed the intimate performance space into a Lebanese domestic kitchen. The mood felt warm and homely, while ‘Aunty’ (Jude) sings ‘Al Bostah’ while cutting onions as we entered. Bowls of spices, vegetables and traditional cookware were on display and the wider set extended into a carefully curated family living area. Generations of family history and inherited tradition were on display as framed personal photographs, floral prints, spice racks, lace doilies and dark wooden cabinets gave the room that cosy atmosphere you’d expect in grandma’s kitchen.
Through stories of growing up Lebanese while navigating illness and the social pressures usually unappreciated in Lebanese culture, Jude reveals the emotional complexity of food – both nourishing and harmful. During ‘ad-breaks’, Jude interacts with the audience, treating them as part of the show. A discussion on the impact of coeliac disease, the comorbidities of depression associated with the disease and what constitutes respectful behaviours reveal that there is much opportunity to educate on this topic. Jude successfully provided that education without lecturing, giving layers to the show, being both entertaining and thought-provoking.
‘Mil-aa-qa’ created an intimate theatrical world that felt authentic, emotionally layered and quietly cinematic. The show celebrates resilience and the longing to preserve traditions of hospitality and shared meals with people you love, but also highlighting that when you are not being considered, that can quickly turn into resentment. Jude achieves maintaining her passion for food on her own terms by being more creative with her cooking. So what begins as struggle, transforms into healing and cultural reconnection. When the show ends, do not run out the door like we almost did. The audience were delighted to be invited by producer, Anja Starkiss, to try a warm bowl of her delicious cooking in the foyer. I’d tell you what it is, but I think you’d better try it for yourself!
‘Mi-aa-qa’ is showing at The Blue Room Theatre until May 9th.
Oxford Falls Grammar’s Charlie and the Chocolate Factory was a grand glossy, decadently drizzled, deliciously complex and rich in flavour musical… oh yes, it was a sensational WhippleScrumptious Fudgemallow Delight of a production!
Based on the novel by Roald Dahl, the story of Charlie and the Chocolate Factory has delighted children and adults alike for 62 years, since its publication in 1964. It’s no wonder that the eccentric (some may call him ‘crazy’) purple coated, top hat signature style, whimsical Willy Wonka found himself and his fellow characters in a musical, featuring an original score by Marc Shaiman, lyrics by Marc Shaiman and Scott Wittman and a book by David Greig. The musical also featured songs from the movie by Leslie Bricusse and Anthony Newley.
This was a huge cast, with 21 main characters, 20 dancers and an immense 31 person ensemble sometimes having to be onstage all at the same time, notably for when the spoilt children meet their fates and the little Oompa Loompas appear to “help clear out” (I don’t think this review would contain any spoilers but if you have not read this novel or seen the musical, you wouldn’t know what an Oompa Loompa is, right?) Artistic Director Odessa R and Assistant Artistic Director & Stage Manager Megan G were tremendously talented in managing the large scope in putting this production on the stage.
The musical kicked off with the upbeat song, The Candy Man, as we are introduced to Willy Wonka played by Toby. After I had seen Toby perform this first song, I knew that the audience was in for a treat because of the way he introduced his character with quiet confidence and a little zany charm!
Charlie Bucket, played with pure sunshine-hearted goodness perfection by Grace, lives with her mum, played by Sierra and her four bedridden grandparents squeezed into bed, played by Christian, Zoe, Grace and Jack. Mrs Bucket works hard and is struggling to earn enough money to feed everyone. Sierra’s voice was showcased beautifully in a song, If Your Father Were Here, which she sings when Charlie is asleep, and when she dances with the memory of Charlie’s father, this added a quietly touching scene.
Soon we discover that Willy Wonka, after being mysteriously unseen for many years and his branded chocolate currently in the same way – unseen/ unsold – is now selling Wonka chocolate bars at a candy store near Charlie’s house. There is a new and exciting competition. Five Golden Tickets are hidden inside Wonka’s chocolate bar wrappers, and each Golden Ticket ensures the winner a tour into Willy Wonka’s factory and an opportunity to have a lifetime supply of chocolate! In quite a genius stroke of marketing, chocolate sales all over the world skyrocket with people scrambling to acquire a Golden Ticket, until all Wonka bars are sold out worldwide.
The announcements of the four winners are televised as the Candy Man shopkeeper (Toby) invites Charlie to watch each winner gloat over how they won their tickets. Jerry, played by Charlie and Cherry, played by Isabella, were the news announcers and carried the enthusiasm of the winners to the audience with pizazz.
The winners come from all over the world. The first winner is German child Augustus Gloop, played with cheerful hungriness by Xavier. His mum Mrs Gloop, lovingly played by Xenia, indulges her son in whatever he wishes. The ensemble’s German costumes added authenticity to the introduction of this initial lucky winner, with the song, More of Him to Love.
Veruca Salt, played by Caitlin is another winner from Russia. Alongside her father Mr Salt, played with a desperate-to-please-his-daughter stress by Nico, we see Veruca’s spoilt personality clearly with Caitlin’s performance of Veruca’s sharp demands, especially with the song When Veruca Says. I’m sure, not only me but many parents in the audience were cringing at her “I want!!” statements and feeling sorry for Veruca’s father. This wouldn’t be the first time that the audience would begin to appreciate our own wonderful children, as we meet the next 2 subsequent child winners and their outrageous personalities.
Pop diva wannabe American child Violet Beauregard, introduced with the song The Queen of Pop, is played by Poppy. She is the next winner and her father, the wealthy Mr Beauregard, played by Luka, panders to his spoilt daughter. Poppy held the stage as her character would, with her spoilt demands and her impressive dance moves.
The next winner, American Mike Teavee, played perfectly with the coolness of a teenager addicted to screens by Hilary, shook off all of Mrs Teavee’s attempts at affection with derisive looks and a swipe of the hand. I almost felt sorry for Mrs Teavee, played by Riley. Riley’s song That Little Man of Mine added to this feeling, although we do see hints of how Mrs Teavee has other addictions and how perhaps being addicted to something could run in the family.
After being blown away by the visual elements of this first act so far, and the dancing and energy of the spoilt children and pandering parents, it was an absolute contrast and joy to watch Charlie quietly unwrap a Wonka bar and be the final winner as she discovers the golden ticket. The audience was invested as we cheered Charlie’s discovery. I know I was beaming as Grace sang, “I’ve Got a Golden Ticket”. What a wonderful turn of the story to see Charlie run home and announce this exciting news to her family. It is here that Grandpa Joe gets the motivation to step out of bed (after 40 or so years!). Christian had the audience laughing as his wobbly knees slowly begin to work and he dances with Charlie and Mrs Bucket in celebration, even kicking his leg into the air – followed by him grasping his back!
The cast built up so much excitement and towards the end of the first act, there was genuine wonder for me as to how OFG was going to present the second act. I was looking forward to seeing inside Willy Wonka’s chocolate factory, so much so that during the intermission I went out and bought a chocolate bar in anticipation! (Spoiler – it wasn’t a Wonka Bar, it was a Picnic, but I assumed it was because all Wonka bars had sold out).
The second act of Charlie and the Chocolate Factory didn’t slow down. It was filled with electric energy, stacks of humour and sometimes a little bit of kid-friendly horror as things begin to move forward and some elimination of candidates occur. I don’t want to say what happened in the second act. I will say that there was not one moment, which didn’t capture my attention. The dance sequences were phenomenal, with the cast moving in time together and showcasing their skills as a team. The three talented divas, Arrabella, Monah and Emma demonstrated their skills throughout the musical. Well done to choreographers Lauren T and Chelsea M for putting this together, to be so visually beautiful.
All the costumes, by co-producer Roxy M, were eye catching and clever in their design. As each winner was introduced, with the exception of Charlie, the ensemble appeared in complementary costumes that added to the character’s presence. Two standout costumes were Violet Beauregard’s suit after she snatched the three-course meal gum and popped it in her mouth against Willy Wonka’s wishes. I loved how Poppy cartwheeled across the stage in her purple puffed suit as though she was a rolling blueberry! The Oompa Loompa’s outfits were perfect, and the duo colour and stripes somehow made them look small.
The ever changing and colourful digital screens behind and either side of the stage, as well as the 3D print of the props, communicated to the audience exactly where the current scene was set. It was an impressive achievement by Dale D as every visual had so much to look at. The scene leading to Willy Wonka’s factory made me wonder what was inside there.
An integral part of a musical is the band and backing vocals. Oxford Falls Grammar had 22 extremely talented musicians and singers who carried the accompaniment and added sound effects throughout the whole performance. Situated at the base of the stage, the music was clear and beautifully executed, well done to all. Congratulations to Jimmy H, not only the conductor but also the co-producer and musical director of Charlie and the Chocolate Factory. He has succeeded in creating a dynamic and rich heartfelt musical that appeals to people of all ages.
There is wonderment, a little touch of magic, many belly laughs and of course, a world of pure imagination in Oxford Falls Grammar’s production of Roald Dahl’s Charlie and the Chocolate Factory. It was difficult to believe that this was “only” a high school performance, as it reminded me of plays and musicals that I have reviewed, and given five stars to, in theatres around Sydney in the past. Given the remarkable effort that resulted in just three evening performances, I suggest considering a reprise at the end of the year. This could be advertised more widely and opened to the general public for ticket sales. I believe many people would be eager to attend and would greatly appreciate the incredible talent this school is contributing to the Northern Beaches community.
Bravo OFG, Bravo!
Roald Dahl’s Charlie and the Chocolate Factory Approximately 3 hours, with a 20 minute intermission C3 Auditorium, Dreadnought Road, Oxford Falls 23 April 2026 – 25 April 2026
Red Phoenix Theatre presents the South Australian premiere of Sophie Treadwell’s MACHINAL at Goodwood Theatre & Studios, 21–30 May 2026.
Nearly a century after Sophie Treadwell wrote it, MACHINAL will be staged in Adelaide for the first time. Red Phoenix Theatre presents the South Australian premiere of this globally recognised Expressionist masterpiece at Goodwood Theatre & Studios from 21 to 30 May 2026.
Inspired by one of the most sensational true crime cases of the 1920s, Machinal follows one ordinary woman ground down to breaking point by the relentless machinery of work, marriage and expectation. Treadwell drew from the 1927 murder trial of Ruth Snyder but transformed tabloid sensation into something far more searching, a nine-episode portrait of a woman being squeezed into shapes she was never meant to hold. Nearly a hundred years have passed. What makes Machinal so unsettling is not how distant Treadwell’s world feels from our own, but how close.
Time Out New York called it “stingingly fresh and provocative”. West End Theatre described it as “cleverly inventive, chillingly modern”. Adelaide audiences will now have the chance to decide for themselves.
A VISION IN BLACK AND SHADOW
Director Michael Eustice brings an expressionist production design to the work that bends the physical world of the play around the inner experience of the Young Woman at its centre. The stage is constructed almost entirely from black drama blocks and stools, reconfigured between each of the nine episodes by the ensemble, in movements that are themselves choreographed with mechanical precision. The physical world of the production is bold, precise and thrilling to watch.
While deliberately sparse in its physical design, the production draws on the visual language of German Expressionist cinema, a soundscape layering 1920s jazz and blues with contemporary minimalism, and chiaroscuro lighting that makes shadows as important as light. This is theatre that enters through the eye and takes up residence somewhere deeper.
DIRECTOR QUOTE – I saw MACHINAL at the National Theatre in 1993 and it marked me in ways I am still discovering. There is something in Treadwell’s design – the fragmented language, the expressionist distortion of a world that is grinding one woman to nothing, that is both technically extraordinary and completely, uncomfortably human. Three decades on, bringing this South Australian premiere to Red Phoenix feels less like a directorial choice and more like an obligation. This is what theatre is for. To make the walls close in. To make the air thin. And then, briefly, to let the light in.
Michael Eustice, Director
THE CAST
Machinal features an outstanding ensemble: Trevor Anderson, Laura Antoniazzi, Nic Betts, James Grosser, Matt Houston, Lisa Lanzi, Sophie Livingston-Pearce, Sharon Malujlo, Steve Marvanek, Stuart Pearce, Kate van der Horst, and Leighton Vogt.
PERFORMANCE DETAILS
Title: MACHINAL Company: Red Phoenix Theatre Venue: Goodwood Theatre & Studios, Goodwood Format: Two hours including one interval Dates & Times: May 21, 22, 23, 27, 28, 29 & 30 @ 7.30pm and Sunday May 24 @ 2.00pm Tickets: $29 full, $23 concession, $26 group booking (6+) Tickets at the door subject to availability Bookings: www.trybooking.com/DCUKY
Bernie Dieter returned to Melbourne with a troupe of talented and sexy performers in Club Kabarett. Housed by the Meat Market, Bernie created a bold environment in a beautiful space. Club Kabarett was atmospheric, with audience members dressed up like it was East Berlin in the early 30’s. The band began playing while the audience found their seats, creating a rowdy and excitable environment. The performers welcomed audience members to the cabaret with some preshow shenanigans.
Bernie and her whole team were dressed in interesting and beautiful costumes. The costumes both made a political statement and peaked my curiosity. Often the performers were scantily clad, or in the case of the drag queen, completely nude except for Chanel. The costumes teased the audience as much as the performances themselves, becoming progressively more risqué.
Bernie was bold and brave when she spoke to the audience. She emphasised that Club Kabarett was a place for the sexually free and open to let our freak flag fly. Bernie utilised the unique large space to create a wonderfully intimate moments engaging directly with audience members. Bernie’s punk attitude and punk music suited the distinctly alternative nature of the cabaret. Bernie hoped to create a space where we could all “let go and get intimate,” and she was successful in that endeavour! Bernie encouraged and asked the audience to touch her, in an attempted to break down barriers.
Bernie’s talented team of alternative performers included a scantily clad pole dancer, a fabulous drag queen, a trapeze artist and many more. Bernie sang with her live band while the different artists performed spectacles. The pole dancer had the audience engrossed by her wild athleticism and flexibility. The tap dancer embodied punk, breaking down expectations of the art form, as he continued to tap with a cigarette in his mouth and an oversized fur coat over his shoulders. The contortionist was impressive to watch. Her muscle and strength control was spectacular. The entire ensemble was serving sexy circus realness.
Bernie Dieter’s Club Kabarett awoke things in me, and made me proud of Bernie. Bernie was unapologetic in her opinions and her radical acceptance of others. Her choice to be so open about her beliefs created a safe and inviting space for the audience to enjoy the remarkable performances she had curated. The live band provided a soundtrack to every performer and act apart of the cabaret, and made sure the atmosphere remained engaging and interesting.
