A Twist Of Fate Christmas Special

A Twist Of Fate

A Twist Of Fate Rating

★★★★★

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T’was the night of Scary Goats Theatre’s A Twist Of Fate Christmas special. All through the Motley Bauhaus cellar, such a merry and full audience was stirring that you wouldn’t have guessed that the company only kicked into gear roughly a year ago. Having seen a past Twist Of Fate season in May, I understood the format and was keen to see more: a series of four short plays inspired by The Twilight Zone and centred around a devastating twist. After only half a year, I was delighted to see that the company has further honed a unique brand of camp, engrossing indie horror with a pool of talented writers and actors.

The night opened with Emily Morey’s play ‘Naughty Nicholas’, in which a little boy is threatened with ‘no Christmas’ after setting fire to the family Christmas tree. He decides to build his own robotic Santa to wreak vengeance on those written on his personal naughty list. The physical acting from all cast members, from the ‘children’ to the janky mechanical Santa, was delightful. While some of the fighting between the main character and his sister felt a bit rushed, it wasn’t enough to detract from the story. I found myself wondering if the boy’s character was too unsympathetic, but luckily, it turned out his abominable Santa had similar concerns…

The second play, ‘Prisoners of the Season’ (written by Lore Burns) opens on four soldiers tied up by the wrists and neck with no memory of who or where they are. It was easy to guess the twist, but the fun came from watching the characters slowly figure it out. Once again, the physical acting was a highlight, and the ensemble’s sense of comedic timing was immaculate. Some of the actors had false moustaches that came loose, but the way the performers leant into and improvised around that gaffe was downright impressive and had the audience on their side in a heartbeat.

‘Office Party’ by Richard Mealey takes place at a Christmas celebration in an office that just so happens to be run by the offspring of the Christmas demon Krampus. As a holiday treat, he tempts Dylan, the office dogsbody, to punish a coworker who almost definitely killed someone for fun. This play was my favourite in terms of its writing and direction. It signalled a darker turn as we saw commentary on toxic masculinity and what is deemed as acceptable in corporate environments. The context and stakes were revealed in a gradual and satisfying way, there’s some fun puppeteering when ‘Krampus’ appears in the story, and the set and sound design were used very effectively to create a creepy build to an eerie ending that left me wanting more.

 

 

The final play, ‘Nineteen Eighty Clause’, was directed and written by Chloe Towan, who also emcees the Twist Of Fate series. A bunch of Christmas elves work tirelessly yet happily in Santa’s factory until one worker, Jangles, becomes so sleep-deprived that she starts hallucinating. This leads her to discover – with the help of a rogue elf named Sparky – that everyone in the workshop has been brainwashed into working for Santa, who turns out to be a cartoonishly cruel gangster. The corporate satire here is much more pointed and turned on the audience as we are made to question our own consumption habits around the holiday season. The romantic chemistry between Sparky and Jangles felt a bit contrived, but as the play itself points out with a fakeout ending: it’s Christmas, and a bit of positivity is sometimes needed to get us through the dark times. Overall, the social commentary is sharp while still having an optimistic message.

After five seasons of A Twist Of Fate and two Melbourne Fringe shows this year, this Christmas edition of Scary Goats’ most popular series felt like a well-deserved victory lap. Chloe Towan and her collaborators showed how they have earned their stripes by consistently creating tongue-in-cheek horror that pushes the constraints of indie theatre spaces without bursting the envelope. I cannot wait to see what they do next year, and I’ll certainly be looking forward to more than a few twists in their shows.

To book tickets to A Twist Of Fate, please visit https://www.eventfinda.com.au/2025/a-twist-of-fate-christmas-special/melbourne/carlton.

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TWO

TWO

TWO Rating

★★★★★

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Melbourne’s queer theatre scene is growing bolder and more joyful with every passing year. However, with widespread acceptance and marketability, there is always a risk of falling into complacency. As a trans playwright, I’m well aware of this ‘tolerance trap’, so I was excited to see a new play with a protagonist as grey in their morality as they are in their gender presentation. Add themes of queer family dynamics and the societal treatment of AFAB bodies into the mix, and you have a recipe for a fascinating comedy. The execution of Two, directed and written by Artemis Muñoz, however, left much to be desired in terms of the writing, set design, and performances.

Two’s protagonist, Kit (Sienna Macalister), is polyamorous, non-binary and newly pregnant. Excited as they are to be a parent, they quickly grow sick of people’s questions about their baby’s gender/sex/genitals. During a particularly tense get-together, they lie to their mother (Rebecca Morton) and announce that they are having twins, a boy and a girl. This temporarily fields uncomfortable conversations with Kit’s family, but strains relations with their partners (Vasi Devi and Marz Cooper) and creates further issues once the (singular) child is born. Will Kit’s family, chosen and biological, survive the fallout?

When creating such an esoteric plotline, there’s a tricky balance between getting your themes across and not lecturing your audience. Unfortunately, I felt that Two fell off the latter side of that tightrope, especially when it came to Kit’s frustration with their mother. It often felt as if the script was insisting that we dislike the mother through prolonged rants from Kit, instead of letting the audience infer ways in which her microaggressions impacted her child. This didactic writing extended to other scenes that fell into a predictable pattern: someone makes an offensive comment, Kit calls them out, they double down, Kit gives them a scolding.

 

 

The staging also didn’t help with character connection because the space felt too wide. By using various side set pieces along with an expanding central frame, the actors felt so physically distant from the audience that it was hard to connect with their intimate scenes. The blocking often seemed stiff and aimless, with characters stuck standing around in scenes they didn’t fully belong in and a lack of opportunities for the actors to make eye contact with each other. A more closed-off stage and further opportunities to sit in moments of silence would have made it easier to connect with characters who are, on paper, fascinating.

Two still has moments where it lives up to the premise’s promise, especially after Kit’s child is born. The scene where Kit gives birth was a visceral showcase of Macalister’s acting, using a luminous ball as a stand-in for the baby was a beautiful symbolic choice, and there was a greater sense of emotional weight as certain character arcs wrapped up. The play’s penultimate scene with Kit and their mother was one of the only times when the mother felt fully sympathetic. It truly seemed that she didn’t fully understand the weight of her actions and that she had the potential to do better. It also brought home a more complex message about ‘cutting off’ loved ones: it isn’t easy on anyone and it’s never anybody’s first choice, but it can still promote the possibility of change.

Two is a play with many interesting things to say that needs further confidence in saying them. The writing comes across as lecturing at points, which could be mitigated by further drafting and less nervousness in the performances. I also think a smaller, more intimate venue would benefit the cast and audience. I would be interested in seeing a future production, and if the premise of the show resonates with you then you may enjoy it in its current form, but it could reach many more people with further polish.

To book tickets to TWO, please visit https://www.theatreworks.org.au/2025/two.

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Love Actually? The Musical Parody is All I Want For Christmas

Love Actually? The Musical Parody

Love Actually? The Musical Parody Rating

★★★★★

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Twinkling lights and Christmas tunes greet you as you weave your way through the theatre. Humming along to Feliz Navidad after posing for a photo op like you are debuting the red carpet, you finally get comfortable in your seat. Front row or humble rear seats, the site leaves you breathless:

Before wide-eyed and smiling patrons, the stage transports you into the heart of the iconic Christmas rom-com. Love or despise the characters, storylines and actors that make Love Actually a Christmas special, the contagious cheer and excitement elicited from the reminiscent depiction of the Christmas school concert is contagious. Christmas trees, tinsel, lights, presents and two doors that hold the keys to the exploration of notable characters and questionable notions of love ensures a night to remember.

Comprised of an ensemble of six talented actors that emulate the subtle mannerisms of the renowned actors of the film, it feels as if Hugh Grant, Bill Nighy, Emma Thompson, Kiera Knightley, Colin Firth, Chiwetel Ejiofor and the late Alan Rickman have materialised. William Kasper, Nicole Kaminski, Benjamin Hambley, Dylan Hodge, Stephanie Beza and Ashton Simpson launch the audience into a whirlwind of emotions – humour, surprise and happiness. If parody is a new venture for attendees, then Love Actually? The Musical Parody is the place to be. Clever and vulgarly quick-witted, the musical production takes flight in throwing subtle shade at actor’s for their notorious rom-com lineage and their not-so romantic antics, while featuring their more iconic roles in popular culture to enhance the absurdity of their character’s dilemmas.

 

 

The outrageous and belly-laugh-inducing antics continue throughout the musical production through catchy, original songs that act as a throwback to iconic music of the 2000s, as well as the not-so-subtle innuendo associated with the beloved characters and iconic moments. Although humour and jokes carry the show from start to finish, the parody production offers the audience a chance to reflect on the crucial question guiding the show – is this love, actually? While watching the characters fumble through unrequited and requited love, barriers in language and culture, or searching for ‘love’ abroad, the audience explores what love actually means – rather than accepting the definition presented by the film’s glamorous stars and flashing lights we were told to believe all those years ago.

Love Actually? The Musical Parody is bold, hilarious and is sure to make you leave the theatre with laughter trailing behind you. Regardless of your perceptions of the original film, the exploration of the staple Christmas movie is sure to make your thoughts and opinions of the storyline feel validated.

Think professing your love to your best friend’s wife through a cardboard montage is a tad creepy?

Maybe you are not the only one.

Should Emma Thompson have been granted justice after Joni Michell’s CD greeted her trembling grin, rather than a beautiful necklace she believed was her Christmas gift?

Perhaps you should attend to find out.

To book tickets to Love Actually? The Musical Parody, please visit https://loveactuallymusicalparody.com/.

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Brilliantly Emotive – Born on a Thursday at Old Fitz Theatre

Born On A Thursday

Born On A Thursday Rating

★★★★★

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Every family is different and unique; there’s no such thing as a cookie-cutter ‘perfect family’. What we can hope for in our own families, are harmonious and happy relationships. Born on a Thursday is a heartrending peeling back of the tough exterior of a mother/ daughter relationship and the deep complications that can arise in a family unit. Presented by New Ghosts Theatre at the Old Fitz Theatre, and written by Australian playwright Jack Kearney, Born on a Thursday had me hanging on to every word these characters spoke.

April (Sofia Nolan), a ballerina who had been working abroad in Denmark for some time, returns home to Western Sydney to see her Mum and younger brother. Her mum Ingrid (Sharon Millerchip) greets her with open hostility. She is a tough woman and has her own reasons for freezing April out with sharply worded barbs and icy stares. It’s uncomfortable to watch, so I imagine that being on the receiving end, April feels it deeply. Millerchips’ portrayal of an overworked, stressed mother – harbouring resentment towards her daughter and ultimately revealing her own vulnerability – demonstrates her talent as a performer.

Isaac (Owen Hasluck) has a brain injury from a sporting incident. He is a young adult and highly dependent on his mum. Isaac is on the cusp of needing independence and feeling the frustration of being unable to communicate easily. The initial introduction onstage of Isaac was powerful. Hasluck portrays Issacs’ disability with heart wrenching accuracy with his mannerisms and muddled speech that manages to capture the depth of his character. Two scenes where he has a ‘meltdown’, one with his mum and the other with his sister, brought tears to my eyes and I am sure others in the audience felt the emotion too.

April’s reason for coming home is slowly disclosed over four seasons as the audience witness building feelings of guilt and responsibility. Nolan fully embodied her character, guiding the audience through her journey into her inner demons and the way to healing her raw pain.

 

 

Howard was played by James Lugton, Ingrid’s affable neighbour. His friendship to the family brought stability and the relationship is explored through his interactions with Ingrid, Isaac and April. Lugton’s portrayal of Howard was done with realistic characterisation, particularly in the tender moments, showing Howard’s heart of gold.

Although there are serious scenes in the play, there are also parts which were lighter. Ingrid’s friend Estelle (Deborah Galanos), a gregarious extroverted woman, brought humour (and wine!) to the stage and showed that our support network of best friends can be family too.

Sound designer Sam Cheng’s music, particularly when indicating the seasonal period when the months on the calendar on the wall were being flipped up, added to the thoughtful ponderance of change. Costume designer Rita Naidu and set designer Soham Apte grounded the characters to the time period of 1998 – 1999, with a kitchen straight out of the late 90’s – I even think I owned a stove and tea towels exactly like the ones that were on set! The set was impressive by having a tap with running water. Being an avid tea lover, I certainly appreciated the cuppa always being offered between characters, and especially Howard’s turning of the teapot ritual before he poured out the tea. The working stove where April made pancakes added the perfect 4D experience and the smell of freshly made pancakes wafting out to the audience was divine! It showed that during these simple rituals of everyday life, big conversations can happen during these times.

Director Lucy Clements has brought together a cohesive team that successfully treads the fine balance that’s needed when presenting a play dealing with mental health illness, domestic violence and traumatic brain injury. Born on a Thursday is a raw and impactful play that explores family, the true priorities in life, and the need to be seen and loved for who you truly are—both by yourself and by those who care for you. I highly recommend it to gain a glimpse into the lives of ordinary people with layered lives. Book your ticket and watch Born on a Thursday in one of Sydney’s most tiny and intimate theatres – the Old Fitz!

Season run: 28 November – 21 December 2025
Run Time: 2 hours 25 minutes with a 15 minute interval
Theatre: Old Fitz Theatre 129 Dowling Street Woolloomooloo
Tickets: www.oldfitztheatre.com.au/born-on-a-thursday

To book tickets to Born On A Thursday, please visit https://www.oldfitztheatre.com.au/born-on-a-thursday.

Photographer: Phil Erbacher

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