theatre - Whats The Show

Naturism - A Hilarious Exposé

31/10/2025 Cherelle Flemming🥈🦉🎭🎶

Naturism Rating

★★★★★

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Griffin Theatre, in association with Sydney Theatre Company, bares all in the debut production of Naturism. Naturism presents a fabulously entertaining script written by Ang Collins, and expertly directed by Declan Greene and Lily Hayman. Naturism is packed with witty dialogue and hilarious one-liners and the show is guaranteed to leave you in stitches. Although the play has serious undertones regarding climate emissions, phone addiction and Australia's brutal relationship with devastating bushfires, Ang Collins has successfully raised awareness and discussions in a comedic lighthearted manner. It seems nudity can surprisingly be an engaging way of raising important issues- who would have guessed!

The set creatively represented the Australian rainforest with leaves strewn about in a semicircle fashion, mirroring the arched backdrop of three dimensional trees. A rainforest boardwalk doubled effectively as a small stage and its demise in the fire scene was spectacularly executed. The props were effectively utilised, in particular, the outrageous fugly hats, which when placed on top of a naked body, amplified their absurdity and hilarity. As previously indicated, the costumes were mostly very…minimal. However the whip bird and the honey bee costumes were absolutely dazzling.

A cosy cast of five delivered a highly polished performance, showcasing their professional standards throughout. The story begins with three GenX naturists, Sid, (Nicholas Brown), Ray (Glen Hazeldine) and Helen (Hannah Waterman) who are living communally in the Australian rainforest abiding by their golden rule book comedically known as ‘The Thingy.’ Life for these three society castaways had been smooth sailing for decades until phone-obsessed, Tiktok influencer, Evangeline, played by Camila Ponte Alvarez, intrudes upon their serenity and upheaves their simple lives. Just as the naturist group begins to accept Evangeline, in strolls highly indulged Adam (Fraser Morrison) who brings further chaos to the peaceful group.

The vulnerability the actors display is commendable and pays off exceptionally as it not only solidifies the content but it is cohesive to the script's elements at large. This dynamic cast all showcased exceptional comedic skill and rightfully deserved the standing ovation and accolades of applause and cheers. I have not witnessed such abundance of laughter during any other performance I have seen. This is credited to the actor's creative delivery and expertise in conjunction with fabulously humorous dialogue. Hannah Waterman's portrayal of intoxicated Helen and her journey of enlightenment is side-splitting comedy at its finest.

The lighting was meticulously timed to emphasise hilarious sudden spotlights on the characters. The dramatic opening spotlight poses meticulously timed with blackouts, had the audience hooked from the beginning. The articulation of the lighting during the fire scene was also spectacularly effective, burning bright red accompanied by thick smouldering dry ice. The sound effects of burning and cracking trees which accompanied this impactful scene were compelling and impactful.

Naturism is a solid five-star performance in every aspect. It is a one of a kind production that will indeed reveal more to the audience than any other performance they have likely encountered. There is nothing flaccid about this impactful, poignant, script which the sensationally talented cast gets to the naked truth of.

To book tickets to Naturism , please visit https://griffintheatre.com.au/whats-on/naturism/.

Photographer: Brett Boardman

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Shakespeare Meets Succession in The Breath of Kings

01/11/202527/10/2025 Megan Davis🌟🦉

The Breath of Kings Rating

★★★★★

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Theatre Works in St Kilda is currently home to an ambitious production, The Breath of Kings. It is a two-part history cycle of the plays Henry VI and Richard III. Directed by Robert Johnson, the production brings Shakespeare’s history plays to life with extraordinary immediacy, energy, and invention.

Over an entire day of theatre, audiences are invited to witness the bloody history of England’s royal houses, from the Wars of the Roses to the rise of Richard III. The experience is immersive from the start. Staged in the round, the audience sits within arm’s reach of the performers, blurring the line between spectator and participant. The interaction is constant and sometimes joyful. At one point, I was dancing on stage and sharing treats passed around by the cast. It was alive, communal, and very much in the spirit of Elizabethan performance.

The first play, Henry VI, is a thrilling, blood-soaked account of ambition and collapse. The charismatic Duke of York, played by Tobias Manderson Galvin, ignites the crowd into chants of “York, York, York!” His performance is full of swagger and charm. Ellen Marning as Queen Margaret is a force of nature, embodying raw power and ferocity, while Sean Yuen Halley brings a touching vulnerability to King Henry VI, revealing the man beneath the crown. The production moves with such intensity and rhythm that its two and a half hours fly by.

After a short dinner break, the audience returns for Richard III, an equally kinetic and captivating experience. Alexander Tomisich’s Richard is impish, calculating, and darkly magnetic, a scheming antihero who could easily walk into an episode of Succession. His sideways charm and growing menace are compelling to watch. The ensemble around him works in seamless harmony, each actor shifting roles and tones with remarkable ease.

The production feels like a cross between Succession and a session of Parliament. It was sharp, fast-moving, and dripping with modern corporate ambition. Characters jostle for dominance and betray each other with a familiar blend of charisma, cruelty and political posturing. It is Shakespeare’s power politics reimagined through the lens of contemporary boardrooms and wealthy family dynasties.

The visual world of The Breath of Kings is simple. There is no elaborate set, only a raw, concrete-like space that places all focus on the performances. The costumes, designed by Zachary Dixon (Richard III) and Tait Adams, are a clever mix of Gothic and 1980s-inspired corporate fashion, blending the medieval with the modern to explore timeless forms of power and corruption. The effect is both stylish and symbolic, a mix of crown meet boardrooms.

This is a production that rewards commitment. Spending a day at Theatre Works for both plays is an epic journey through history, politics, and human ambition. It is fast-moving, immersive, and full of action. You may never again have the chance to see Henry VI and Richard III performed back-to-back in such an inventive way, and it is absolutely worth the time.

If you can, see both. The Breath of Kings is a triumph of energy, imagination, and ensemble storytelling.

To book tickets to The Breath of Kings, please visit https://www.theatreworks.org.au/2025/breath-of-kings.

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ATC's 'Gaslight': Artful, Suspenseful and Entertaining

26/10/202526/10/2025 Isobel Knight⭐🦉🎭

Gaslight Rating

★★★★★

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Arts Theatre Cronulla have had a fantastic year of shows; the ambition and attention to detail in their productions are always notable. Patrick Hamilton’s ‘Gaslight’, playing until November 29, is a prime example of this - a tight and talented cast, great set design and an audience kept enthralled throughout. The choice of this particular show is a tribute to James Bruce, a founding member of the Arts Theatre who contributed as a set designer and builder, lighting designer and director over the course of 61 years. The director has said that Bruce loved this play, and in this production you can see why.

‘Gaslight’ is a thriller from the 1930’s, the story of a woman who thinks she is going mad like her mother before her. Her husband is reaching the end of his tether, until a visitor interrupts the balance of their little world. This production has moments that made the audience genuinely gasp out loud. Michael Gooley both acts and directs, and the directing choices make the tension in the room palpable. Gooley chose to build the set according to James Bruce’s design, and it works excellently; the flickering gaslights, the period-accurate furniture and other set details function almost like an escape room puzzle, drawing the audience to notice small changes, our eyes drawn to everything from paintings to desk drawers.

Margareta Moir is a revelation in the role of Bella Manningham. Bella is a character under serious stress, and the physicality of how Moir portrays this woman in crisis is at times frighteningly real; her storytelling goes beyond the dialogue. Bella’s arc, in Moir’s hands, becomes the emotional thread that holds the story together, even as various mysteries unfold around her.

Gaslight_Bella_Jack_Photo by Graham West_2

Gary Clark, playing Bella’s husband Jack Manningham, makes excellent choices in this show. Jack’s tone is generally light and unaffected, which makes the moments where that demeanour shifts very striking. There is a moment where he enters at the end of the first act that was one of the dramatic high points of the show, with his stillness and raw energy drawing gasps. His performance builds a lot of the show’s tension, and his choices with how to present Jack’s light and shade are a thrill.

Ann Sayegh and Suzie Stipanovic play Elizabeth and Nancy, the two maids of the house who orbit one another and interact with their bosses in very different ways. The choices their characters make shape how you perceive both Jack and Bella, and both Sayegh and Stipanovic create depth and reveal power dynamics within the world of the house, underscoring the claustrophobia that Bella clearly feels.

Michael Gooley plays a blithe and unafraid Inspector Rough, a visitor to the home who turns Bella’s world upside down. The tone of the whole show shifts when he enters, and Gooley’s Rough remains a wildcard throughout, reacting in unpredictable ways to the unfolding revelations.

ATC continues, with this show, their pattern of a strong cast telling a story with conviction and wit, with good direction making for a really enjoyable (if nerve-wracking) night of theatre. From Craig Oberg’s lighting design to the smooth stage-management by Michele Potter and Dahyla Oweichi, this is amateur theatre at its strongest: entertaining and artful. Jim Bruce would be proud.

To book tickets to Gaslight, please visit https://www.artstheatrecronulla.com.au/gaslight.

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Radium Girls

26/10/2025 Nicole V🥈🔥🎭

Radium Girls Rating

★★★★★

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There’s something different about a theatre performance based on real stories. Radium Girls tells the story of the young girls and women who were unknowingly poisoning themselves at work every day. Being taken advantage of by the men of the company and the physicians they thought they could trust, we follow the story of Grace and her friends Irene and Kathryn as they fight for their voices to be heard and their dues paid. Do not worry if you don’t know much of the story; the script and cast will provide you with context and hold your hand through this fight for justice.

As we follow Grace’s story, we meet a smattering of interesting characters who brighten the stage. The cast list is smaller than the character list, so you can expect to see some faces on more than one character, but with speedy costume changes – paired with some impressively quick accent changes – you’re never confused as to who is who. If you find yourself needing a guide, the well-formatted program the company has on offer provides a helpful cast list.

And a rather professional cast, I feel is important to note. With opening night jitters of missed lighting cues, the cast didn’t allow it to deter them, delivering their lines as though nothing were amiss. Missed cues aside, the lighting was strong, showing an array of colours to aptly represent the mood for each scene. Showing off the simple yet powerful stage which, at first glance, shows little more than some stunningly coloured green windows and a giant analogue clock face. This versatile stage will transform from the US Radium Company’s factory, to Grace’s family dining room, to a courthouse, and more without missing a beat, and never leaving room for confusion.

It's easy to find yourself immersed within the story, but every now and then a monologue will take you by surprise, leaving you wide-eyed. With moments carefully chosen to address the audience, don’t be surprised if you leave and find yourself unable to stop thinking of particularly emotional moments. Even with these crafted moments to make the audience think, the show itself is not hard to follow, and easy to feel a connection with every cast member on the stage (no matter which character they are portraying).

The only thing I wish had been utilised more was the glowing radium. I spotted some glowing aprons, but seeing some glowing shoe soles, watches on characters, or paintbrushes would’ve been a treat. Otherwise, everything else was perfectly orchestrated for every character’s individual personality, from their accents and body language to their tailored costumes. The stage was used to its potential, with little to no dead space in any scene, the costumes matched the era, the cast supported each other with excellent chemistry, it was engaging, and the sound effects didn’t overshadow the cast.

A thought-provoking show, the story of the radium girls will remain an important retelling, and Galleon Theatre Group has provided us with a wonderful rendition.

To book tickets to Radium Girls, please visit https://www.galleon.org.au/html/radiumGirls.html.

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