Celebrating its 80th year in style and in a brand-new theatre space, the Genesian Theatre Company presents – The Lady Vanishes, adapted by Derek Webb from the novel on which the Alfred Hitchcock’s classic 1938 film was based.
This production is a nostalgic and atmospheric journey back to a time of intrigue and stiff upper lips – all aboard a European train where one woman vanishes and everyone seems to be hiding something.
The ingenuity of the staging cannot be overstated. The design team masterfully evokes the confined, shifting world of a train carriage through clever use of sliding compartment doors and evocative soundscapes. Seamlessly moving the action from the dining car to corridor to first class, the production invites the audience to feel like passengers themselves, peering down corridors and eavesdropping on hushed conversations. This immersive approach is one of the production’s strongest assets, providing a dynamic sense of movement and urgency.
The story itself remains a compelling whodunit, as Iris Carr – on her journey home – becomes increasingly frantic when a fellow passenger, the governess Miss Froy, mysteriously disappears. What follows is a delightful unraveling of truth and deception, as each character’s potential motive for denial (or deceit) is revealed. The play cleverly engages the audience, turning us into sleuths trying to piece together the puzzle.
Tonally, however, the production feels somewhat uneven. Some actors leaned heavily into broad caricature, while others remained grounded in more traditional realism. This dichotomy occasionally pulled focus from the central tension of the plot.
That said, several performances stood out. The sister duo Evelyn and Rose brought genuine laughs with their dry wit and impeccable timing, while Mrs Barnes was a wonderfully nervous delight. In the central role, Iris Carr shone brightest when allowed to play her role with sincerity and emotional depth.
The Lady Vanishes is a joy to watch and the Genesian’s new theatre space is a fitting stage for this lively, imaginative production – a celebration of the company’s legacy and a testament to the enduring power of classic storytelling. Here is to 80 more years to come!
Wow! What a yummy treat this cabaret was. I ate it up and didn’t want it to end! Tomàš Kantor sucked us into the story from the get-go with clever use of current pop bangers that we all know, and love. From Chappell Roan to Gaga, the Sugababes and TikTok hits, the music always encapsulated the story in an interesting and unique way. The rollercoaster of emotions throughout was relatable and we were rooting for the very lovable Tomàš as Sugar. Honestly, in this economy, who hasn’t contemplated taking the “easy way out” and becoming a sex worker after watching Pretty Woman. Especially easy to relate to if you’ve ever been a struggling uni student living in a share house.
Tomàš performance of this (as far as I can tell), true story, was powerful, fun and playful. I loved the use of the poppiest of songs arranged in a cabaret format. I died when Prada played. They gave us clever costume, prop and set use, great vocals, dance breaks and played multiple instruments. What a multi-talented and intelligent performer! The characters were all interesting, well-defined and had a point of view. The story was clear. I feel as if this is a show you could see many times and notice new clever intricacies each time. Tomàš and Bullet Heart Club (Ro Bright – show writer & Kitan Petkovski – director) deserve high praise for this!
Don’t be distracted by the sparkles though. Not only was it funny, but there were poignant moments as well. These included some insight into why sex work is often not “easy money.” This is a job which requires incredible sacrifice of self and often places the worker into perilous personal situations where they have no power or recourse for wrongs committed. This window into sugar-babying throws light on some inherent class divides and the power imbalance of these transactional relationships. There was subtle commentary on internalised queerphobia too, and I had goosebumps when they started singing the last song.
The show included considerable (optional) audience participation and use of house lights which made for a very immersive theatre experience. This hooked us in for the ride and made us laugh. Word of warning, if you are uncomfortable with descriptions or portrayals of sex on stage this is maybe not the show for you. However, those who are down, you are in for a thrilling collective release. I was unsure how the audience would react at the Hayes, but they loved it! Tomàš is so charismatic and charming that we feel as if we are a friend getting the tea.
Ultimately, such a fun journey, I laughed and sympathised with Sugar. I would heartily recommend going to see Sugar if you get the chance. This debut cabaret has already won multiple awards, and rightly so, Tomàš is a talent to watch. Look out Edinburgh…
Mary Poppins would have to be one of the most well known stories from everyone’s childhood. To see it in a musical, no matter how many times you’ve seen it before, is always special! Producing this showstopper at the moment is Mountain District Musical Society.
Based on the books by P.L. Travers and the classic Walt Disney film, Disney and Cameron Mackintosh’s Mary Poppins delighted Broadway audiences for over 2,500 performances and received nominations for nine Olivier and seven Tony Awards, including Best Musical.
Mary Poppins is an enchanting blend of an irresistible story, breathtaking dance numbers, and unforgettable songs – including classic favourites such as A Spoonful of Sugar, Supercalifragilisticexpialidocious, Feed the Birds, and Step in Time.
Playing 13-22 June 2025 at Karralyka in Ringwood within a beautiful theatre, this show was a complete 5-star viewing. So good that my Mum who went with me said she would go again and she doesn’t even have young grandkids or know anyone in it as encouragement to see. This is a jubilant show for all ages.
Mary Poppins (played by Hannah Simos-Garner) is so practically perfect in every way of course! Hannah never loses her ability to keep in character with Mary’s ‘spit spot’ personality and even when she takes her bow at the end of an energetic finale she remains the ‘prim and proper’ person she is after having cast her magical talents over an amazing stage set and supported by a gifted cast.
Bert (played by Jason Sainsbury-King) is, I think, the best character in Mary Poppins; I’ve always loved him. He’s the sort of person we all want in our life; dependable, living in the moment, never gives up and steps in time with others and on his own. Jason gives a unique adaptation of Bert on stage – he’s funny and so engaging with the audience that we think at times we are about to jump in the show with him. “That was a little bit scary” he says as he pops out of the audience in one part and we all laugh; I again think how wonderful he is. And yes, some scenes are a touch scary, but it’s all done with crazy wonder, like a broken toy ‘Valentine’ (played by Hamish Williamson) squeezing through the cupboard to become life size in front of us with a bewildered ballerina, doll, bear, jester and more …
Downstairs at his desk at home or doing his important work at the bank, Mr George Banks (played by Cale Maclaren) is a stand-out. Cale’s experience shows off Mr Banks stout actions and soft side very well as the relied-upon cornerstone of the Banks family. Mrs Winifred Banks (played by Kelliann Brady) shines when she gets the chance to address her husband’s employers and you realise the story of ‘Mary Poppins’ is really about them, their family and what is actually important in having one.
The Banks children, Jane and Michael, are roles much sought after and the kids’ audition slots are usually quickly booked out. I’ve seen many an exceptional youngster reading out the letter to their ideal nanny in my time, but I applaud tenfold the two I saw tonight in Jane (played by 10 year old Mila Orchard, practically a veteran of theatre already) and Michael (played by 9 year old Charlie Laughton, a cello and piano player plus singer and dancer).
Mila has grown up in her family’s dance school and her training in not only dance, but vocal and acting is proven here. She holds the floor quite a lot with extensive dialogue and doesn’t forget about her actions in smaller details either. Charlie as Michael Banks has all his mischievous and comically naughty expressions down pat. I’ll bet he had tons of fun doing this show practicing them as he’s very genuine in his antics. Both of these kids are unforgettable as Jane and Michael, well done!!! (Note: the children’s roles are shared and you may see equally talented Clementine Lidstone and Elliott Hayes at a different show).
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My favourite scene was without a doubt the unveiling of Supercalifragilisticexpialidocious… go to see this nonsensical word come to life that has become synonymous with ‘Mary Poppins’ and its themes of joy and magic; in this show it is PURE JOY! Hugely well co-ordinated dancing by all, from the cutest littlest cast member Emersyn (also playing one of those cheeky penguins in the park scene), to Mary Poppins (Hannah belting it out confidently), in a spectacle on stage that will have you not wanting it to end (luckily they do an encore).
Following a close second to my favourite was naturally with my dance background ‘Step in Time’. How can you not love this rhythm. The ensemble get to show off here and they are brilliant!! Energy plus some!! What great choreography and geez the stage awareness by everyone – so much is going on; “yes, good job, woo hoo” I’m saying all the way through as they partner up and nail their formations. Tap dancing is a rarer skill displayed these days but you’ll definitely get a fix at this one. I’m always listening out for comments from the audience and after the show I heard a young boy say he wanted to learn to dance like the chimney people (his Mum said “you liked the noise?”) – how gorgeous and it’s worth having your kids be noisy to learn tap.
My Mum’s favourites were Mrs Brill, Robertson Ay and Ellen (played by Felicity Eastwood, Jacob Sellenger and Laura Steel), three hired help in the Banks household who will have you in fits at their harmonious but hilarious chaotic shenanigans.
I have to mention a few others too (did I say this show is AMAZING):
The meaningful and heartfelt ‘Feed the Birds’ solo by Marina Martin whereupon you never look at flocking pigeons in the same way again and there was a tear in my eye when Mr Banks favoured her plea – the look on Marina’s face said it all; kindness is king.
A shout out to the formidable nanny come-back of Miss Andrew’s ‘Holy-Terror’ ways hitting vocal notes that had the audience awe-struck and was once again portrayed perfectly by Sarah Power (her make-up made the character look fierce but in a comical way which I thought was better for kids viewing, so well done by the costuming team).
Mrs Corry (played by Nicole Kapiniaros-Anson) and her brightly-haired daughters – fabulous costuming and fabulous voices and dramatic involvement – loved them and the wigs! And for everyone all around them, BRAVO, you’re all on it, in it and living live theatre to the full.
I also liked watching the girl with the yellow kite dancing and all the kites flying on stage. Theatre shows can bring us such lovely reminders of memories we hold dear from our own childhood days or those of watching our own children discover. The looks of excitement in flying a kite is one – caught by the smiley ensemble members who make the show what it is overall, they add the backing board for those lead roles to be in a realistic moment.
I could go on and on, but Bert finally closes the door at 17 Cherry Tree Lane, leaving a happy family inside and having said a happy farewell to Mary Poppins before she flies across the sky, but also leaves the audience skipping out and having ‘a spoonful of sugar’ or ‘chim chim cher-ee’ happily singing in our heads.
Congratulations Mountain District Musical Society. For information on future shows of MDMS, please visit: https://www.mdms.org.au/
CAST:
MARY POPPINS – HANNAH SIMOS-GARNER BERT – JASON SAINSBURY-KING GEORGE BANKS – CALE MACLAREN WINIFRED BANKS – KELLIANN BRADY JANE BANKS – MILA ORCHARD / CLEMENTINE LIDSTONE MICHAEL BANKS – CHARLIE LAUGHTON / ELLIOTT HAYES MRS BRILL – FELICITY EASTWOOD ROBERTSON AY – JACOB SELLENGER ELLEN – LAURA STEEL ADMIRAL BOOM – MICHAEL GIBSON MISS LARK – ELLEN LANE MRS CORRY – NICOLE KAPINIARIS-ANSON BIRD WOMAN – MARINA MARTIN MISS ANDREW – SARAH POWER NELEUS – HAMISH WILLIAMSON BANK CHAIRMAN – STEVE ATKINSON KATIE NANNA / MISS SMYTH – ELEANOR HORSBURGH PARK KEEPER / JOHN NORTHBROOK – RYAN JACOBS VON HUSSLER – NICK TOOVEY POLICEMAN – DAVE SLY
ENSEMBLE & ARTISTS:
CALLUM HALSTEAD ADDISON WILLIAMSON ALLEGRA JACOBS LEXI ZACHARIASSEN OLIVIA SIMOS-GARNER EMERSYN ORCHARD ISABELLE DA COSTA RUBY QUINN CHLOE FONG ISLA EVERETT EMILY ABRAHAM SONIA AGJEE JENNA AL BUSAIDI CHARLIE BARNETT ALEX CORR AMELIE EVERETT MELISSA HILL TYLER LEVY LUCY BRADY JESSICA CLARK BEC CORNELL KRISTY CORNELL NICOLE ROTENSTEIN ALI STEWART CADENCE VALK STEPHANIE VIENET
Director: Anne Dewar, Musical Director: Vicki Quinn, Choreographer: Amber Orchard, Stage Manager: Craig Dewer, Production Manager: Lyn Alexander, Set Design: Chris White, Lighting Design: Yaz Sesta, Sound Design: Peter Philip / David Drew, Program Design: Emily Dewar, Projection & Video Design: Brenton Van Vliet.
The amateur theatre group of MDMS has commitment to fostering an inclusive environment for people of all cultures, beliefs, identities and abilities. Community theatre at its best so don’t miss BEAUTY AND THE BEAST next year with MDMS.
Venue: Karralyka Theatre is at 22A Mines Rd, Ringwood and is easy to get to with plenty of parking. Comfortable seating and good viewing whether you sit front or back rows.
This is burlesque with bite. I walked into Confessions of a Drama Queen expecting fishnets and feathers, but what I got was something far bolder: a woman reclaiming her life, body, and sexuality, on her own terms and in her own glorious style. Yes, it’s sexy but also soulful, self-aware, and delightfully risque; equal parts sparkle and steel.
Behind the lashes, lingerie and big belt vocals of Songbird Siren is Megan Walshe. A seasoned Sydney burlesque bombshell who’s earned her stripes wowing crowds from sultry lounges to cruise ship catwalks. She was also a finalist in the MX Burlesque NSW 2024 competition, with the scars and strut to prove it.
The structure of this one-hour show is deceptively loose and fanciful; a lively blend of skits, strips, vaudeville flair, memoir melodies, and clowning, all seamlessly stitched together. Occasionally, live piano flirts with a syncopated rhythm, adding a wink to the unfolding scenes. Songbird leads us through a raucous, rhinestone-strewn maze of glamour, heartbreak, and hilarity. The journey is a playful yet pointed provocation.
Confessions of a Drama Queen isn’t just cabaret. It’s a backstage pass to the gritty reality of performance life in Sydney through the eyes of a kick arse woman who spins sugar from the sour. It’s a tale of grit and staying power, of clutching your calling tight even when the world buries it beneath bills, rejections, and relentless grind. So while you get the naughty tassels and tease galore, you’ll also be caught in the sweat and stamina.
There’s something deeply compelling and ironically voyeuristic in our fascination with what goes on behind the scenes: the heartbreak and the side hustles that fund the dream. While recounting her 27 no-skill jobs, from fairy floss spinner to Macca’s drive-through worker, she performs a fabulous ABBA medley that turns her struggle into something defiant, delivered with flair and self-deprecating humour.
Two clowns (Alexis Hutchinson and Carla Field) provided sharply timed satire as her assistants, and a third silent-yet-essential presence, Jared Jekyll, quietly and comically tidied the trail of costumes and props left in her wake. Together, they conjure a world of slapstick and sincerity with pitch-perfect absurdity whilst effortlessly layering the commentary onto the main story.
Throughout the show, Songbird unfolded her personas much like Gypsy Rose Lee’s life, marked by reinvention and resilience behind the glamour. From desperate musical theatre graduate to cheesy cruise ship numbers, then a very clever slow transition from strip club kitten to full-blown Showgirl Glamazon. This final form shimmered with self-possession. Her performance of “Never Smile at a Crocodile” was a standout. A song I’d never thought much of became, in her hands, a metaphor for staying away from those who diminish you or refuse to see you. She sang it with such tender poise and knowing, it struck a quiet, powerful chord.
Hayes Theatre Co has carved a reputation as Sydney’s home for bold new work where musicals get gutsy and cabaret sharpens its edge. Their Winter Cabaret Season champions fearless voices in an intimate jewel box that consistently punches well above its weight, giving Sydney’s most adventurous performances the audience they deserve.
Confessions of a Drama Queen is less a performance and more a full-body reveal; a sparkle-soaked chronicle of survival and sheer showbiz grit. Equal parts showstopper, confessional, and comeback story, it’s the backstage juice we’re all secretly dying to hear. Don’t miss it; sass up, sparkle on, and get ready for a truth-telling strip with heart.
