Alice In Wonderland

Alice In Wonderland

Alice In Wonderland Rating

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Stepping into the whimsical world of Alice in Wonderland has never felt more real than at New City Theatre’s latest production. With tea and cupcakes served upon arrival, the audience was immediately immersed in the delightful atmosphere of the Mad Hatter’s tea party, setting the tone for an evening of charm, creativity, and community spirit.

What made this production truly special was its original music. With beautiful, meaningful lyrics written by the young and talented Hannah, the songs added a fresh and emotional depth to the classic tale. A remarkable feat for such a young composer, the music elevated the production and should be an inspiration for young and old theatre makers alike.

Hannah-Jade Keppler’s performance of one of these original songs was a standout—her voice, clear and emotive and captured the emotional core of the story. Equally impressive was the choreography by Tamara Wolf, whose staging brought a dynamic energy to the production and I love how the fourth wall was crossed with the cast venturing into the audience so we could get up close and personal with them!

Among a 16-strong, cohesive cast, it was evident that age was no barrier and I loved how inclusive this theatre company is.

Danielle Ritchie shone in her debut lead role as Alice, delivering her lines with poise and singing her solo with confidence—a significant achievement for any first-time lead. Kayla Short’s portrayal of the Mad Hatter was another highlight, brimming with charisma and comic flair. Her performance of the Mad Hatter’s song was particularly memorable and confidently delivered.

The Queen of Hearts, played with razor-sharp comedic timing by Eloise Keppler was outstanding and when improvisation was required by a mishap on stage – she handled it like a pro, with grace and compassion. Another special mention goes to Summer who played Dinah the cat with incredibly believable physicality and vocality – the level of commitment to character was impressive.

Adding a heartwarming element to the production were the youngest cast members—Yusra, Bisma, and Rayne—whose presence on stage melted the hearts of everyone in the room.

New City Theatre, which has been active since 2013, continues to nurture young talent and foster community. The fact that three founding members are still performing is a testament to the lasting impact this group has had. I’d also like to acknowledge the invaluable work of the many helpers who served food and drinks and supported behind the scenes—a true community effort in every sense.

Perhaps the most remarkable takeaway from Alice in Wonderland was what it says about the capabilities of young people. Given the space, trust, and encouragement, they created something wholly their own—original, ambitious, and utterly delightful. This show wasn’t just a performance; it was a statement: young people are more creative, intelligent, and capable than we often give them credit for.

A resounding success and a beautiful reminder of the power of youth, imagination, and community.

To book tickets to Alice In Wonderland, please visit https://www.taztix.com.au/event/nct/.

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Threadbare

Threadbare

Threadbare Rating

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5

After being involved in the theatre scene for almost 16 years, it still surprises me just how articulately live performance can capture a unique experience and make it feel universal. Seeing Threadbare was one such experience. Regardless of background, status or age, the audience were invited with open loving arms to sit and feel this story of identity, belonging and fading memories.

We follow Sasha who has some exciting news they would like to share with their beloved gran Elaine. But the repercussions of sharing this part of their lives might damage the relationship between them. Elaine also has dementia. Time seems fleeting and memories are fading. But luckily Sasha has the safety net of a home filled with the love of the family they have chosen.

Multidisciplinary artist Tomas Parrish-Chynoweth embodies the character of Sasha with beautiful vulnerability. Etched on their face and voice was the fraught complexity of navigating through love, identity and memory. Rebecca Morton’s Elaine was simply divine to watch. Every time we saw the light of recognition fade from her eyes, our hearts would crumble to pieces. Sasha’s partner Kaden was played by Blake Appleqvist. Their ability to expertly balance softness, heat and comedy added dimension to the budding relationship that few actors would be able to achieve. Matisse Laida’s Riley gave the audience permission to find humour in some of the more absurd aspects of queerness. Comic timing is no joke but Laida used it with graceful ease.

 

 

Completing the family was Sarah Fitzgerald as Kahani. Their performance perfectly encapsulated the exhausting burden of being the “caretakers” of the family. Each actor moved with fluidity, trust and conviction. This can be credited to Manali Datar’s adept and careful direction. Congratulations on this triumphant directorial debut! What this team has achieved with Tomas Parrish-Chynoweth’s poignant script is nothing short of brilliant.

Leaving the theatre space, I could see I was definitely not the only audience member with tears in their eyes and a smile on their face. Sometimes tolerance and forgiveness can feel like wounding yourself especially if you are the oppressed. And sometimes it is too much to bear at the risk of disturbing your peace. But if you can do it, it can also be the greatest gift you give yourself and another person. Love is love is love and at its heart, Threadbare is a celebration of acceptance in all its forms and love in all its forms. I can still feel it holding me close like the warm embrace of my grandmother. Threadbare is showing at the St Martins Youth Arts Centre until the 19th of July.

To book tickets to Threadbare, please visit https://stmartinsyouth.com.au/event/threadbare.

Photographer: Liv Morrison

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Frozen Jr

Review: Frozen Jr

Review: Frozen Jr Rating

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Based on the Academy Award winning Disney animated feature film, Frozen, the Adelaide Theatre Academy’s limited season of Frozen Jr at the Goodwood Institute, is a first-class vehicle to highlight the outstanding flourishing talents of the young cast in this highly entertaining production that brings Anna, Elsa and the crew alive on stage.

The plot develops in the Kingdom of Arendelle as Young Anna and Young Elsa play as summer is celebrated by the Townspeople. Young Anna pesters Young Elsa to use her magical powers to create snow and ice. Queen Iduna and King Agnarr prompt them that Young Elsa’s powers must be kept a secret. That night they build a toy snowman called Olaf, and Young Elsa inadvertently uses her powers resulting in Young Anna becoming unconscious. The King and Queen enlist the help of the Hidden Folk and their leaders Pabbie and Bulda revive Young Anna and remove the memory of Young Elsa’s powers from Young Anna’s head. Fearful of her potentially harmful magic, Young Elsa vows to hide her powers and removes herself from everyone including her sister.

The King and Queen travel away from the kingdom but are lost at sea and the sisters are isolated from the outside world and each other. Later Elsa is to be crowned Queen and for the Coronation the castle gates are opened after being shut for many years. Anna becomes excited with the prospect of having people back in the castle. Anna falls in love with Prince Hans and Elsa again loses control of her powers and flees, Anna tries to find her sister leaving Prince Hans in charge of Arendelle. In her search she encounters Kristoff and his reindeer Sven, then Olaf the talking snowman who all join her in her quest to find Elsa.

The show includes the favourite songs from the original film, “Let It Go” and “Do You Want to Build a Snowman?” as well as new songs for the stage.

 

 

With the limited confines of the Goodwood Institute and the large size of the cast, the set design is minimal, relying on a series of ladders that are moved throughout the show. While practical considerations are obviously in play in relation to the minimal set design, the minimalism may lead to confusion with the story amongst younger audience members of which there was a large number in the session reviewed. There were also minor sound issues but not enough to mar the show. Costumes are very good, however the stylised Olaf costume may again lead to confusion for younger audience members.

Two casts alternate between sessions, a “Winter Cast” and a ” Summer Cast”. The session reviewed was performed by the “Winter Cast”. The whole cast has impressive developing talent. They all performed to a remarkably excellent level considering their age and would all seem to have bright futures. Given the excellent performance of all the cast it seems unfair to single out individual members, but the leads Claire Wilkes as Anna and Lucy Parkes as Elsa, deserve special mention for outstanding achievements. Lucy’s singing voice is already at an accomplished level. Special scene stealing mention also to Olive Kennedy as Olaf.

The Adelaide Theatre Academy should be proud of their production of Frozen Jr as it highlights the brilliant developing talents of the cast in this charming take on Disney’s Frozen characters.

Frozen Jr runs to 19 July 2025; remaining session dates and times are as follows:

– Friday July 18th – 10:15am & 6:30pm
– Saturday July 19th – 11:00am & 6:30pm

To book tickets to Frozen Jr, please visit https://theatrebugs.com.au/theatre-bugs-shows-and-events/.

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Breaking the Castle

Breaking the Castle

Breaking the Castle Rating

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2

Creating a successful one-man show is a Herculean task. It requires an enduring assurance of self, vigour of spirit and bold leaps of faith. If you have furthermore chosen to stage an autobiographical story, then the courage and confidence that is required of you is tenfold. Writer and performer Peter Cook has achieved great critical acclaim and impressive mileage from his one-man play Breaking the Castle currently showing at Theatre Works until the 19th of July. Since its premier on the Canberra stage in 2020, this show has undergone a few iterations and is promised to continue developing. If you don’t manage to catch it before the weekend, just quickly zip over to the Sydney Opera House where it will be showing from the 23rd to the 26th of July. Or keep an eye out for the film that will be sure to come out soon.

Upon entry the audience is greeted with a thrust stage (pun intended) designed by Raymond Milner. A menagerie of detritus from half-eaten takeaway containers, books by Shakespeare, alcohol bottles and lines of cocaine litter the space. Eminem’s proclamations of strength and grit fill our ears as we find our seats in one of three sides of the audience. It starts and we begin the journey of this man’s struggle with addiction, ambition and self-actualization.

 

 

Enter Davey: an aspiring actor who loves Shakespeare, one-night stands, alcohol and drugs. But this love affair comes at much too high a price. The cost of numbing yourself from unprocessed trauma means that you also lose touch with reality and who you want to be. To be or not to be, indeed.

Each emotional beat of this performance can be credited to director Dr Bridget Boyle and her keen eye for blocking and pacing. There is a strong sense of honest collaboration between the director and writer/ performer and this relationship of trust shines through onstage. You can almost see Boyle’s invisible guiding hand as Cook moves through the space, embodying various characters and voices. The use of Kimmo Vennonen’s soundscape and Ben Hughes’ lighting design further accentuated each dramatic moment as they transpire.

Breaking the Castle is earnest, defiant and deeply personal. It is no easy feat to present your life and bear the vulnerability of self reflection. Yet at its core, this show is about knowing the life you want and daring to pursue it. I wish Peter Cook all the best of luck in finding more things that he likes about himself and the beautiful journey that lies ahead.

To book tickets to Breaking the Castle, please visit https://www.theatreworks.org.au/2025/breaking-the-castle.

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