Hansard

Hansard

Hansard Rating

★★★★★

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Hansard is a sharp, fast-paced play by English playwright Simon Woods. Lively and bitingly witty, it still delivers a devastating message that feels just as urgent today as when it is set.

The story unfolds in 1988, the year Margaret Thatcher’s controversial Section 28 legislation was passed. It was a week of national upheaval in the UK as the act sought to “prohibit the promotion of homosexuality,” in direct response to a children’s book, Jenny Lives with Eric and Martin, which introduced young readers to different kinds of families. Its introduction ignited fierce protests and unrest across the country.

The play follows Conservative MP Robin Hesketh and his liberal wife Diana, whose ideological sparring is a demonstration on how politics can invade our homes and corrode even the closest bonds. The scene is set on a summer morning. Robin returns from parliament to his Cotswold home of thirty years, where Diana, hungover from a night on the gin, greets him amid the chaos of foxes tearing up his prized lawn and garden. What begins as a razor-sharp, playful exchange quickly darkens, as Diana challenges Robin’s defence of Section 28. In minutes, their banter spirals into something raw and searing, unearthing old wounds and unleashing devastating truths.

 

 

This is a remarkable production. It’s a true marathon for its two leads, Grant Malcolm and Suzannah Churchman. Across nearly two hours without intermission, their performances never falter. Together with director Barry Park, they masterfully balance biting humour with heartbreaking vulnerability, pulling the audience from raucous laughter into hushed, breath-held silence as the play drives towards its shattering conclusion.

The set design is thoughtful, working seamlessly with the flow of the play, and the cast is supported by a great team behind the scenes. Tarek Jabado is the Stage Manager, and Andre Beidatsch is the Assistant Stage Manager. Lighting design is by Mark Nicholson, and the costume design by Merri Ford.

Hansard is currently showing at the Garrick Theatre in Guildford and runs until October 11.

To book tickets to Hansard, please visit https://www.taztix.com.au/event/garricktheatre/.

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Selkie

Selkie

Selkie Rating

★★★★★

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Finn O’Branagáin’s play, Selkie, uses old Orkney mythology to explore the important themes of domestic violence and coercive control. A Selkie is a creature that lives in the sea in the form of a seal, coming to land and shedding their seal skin to become attractive and seductive humans.

Rónnad (Celeste Cortez Davis) finds herself naked on the beach after losing her seal skin, trapping her on land. She is ‘rescued’ by Séan (Josh Hammond), who takes her in to his home, gives her clothing, and promises to help find her skin. There’s no actual nudity in the play, and it isn’t needed, the idea of a Selkie without her seal skin effectively achieved in other ways.

Trapped in Séan’s care, the two develop an awkward relationship, just like Selkie’s of mythology who are sometimes tricked into marrying humans. Rónnad tries her best to assimilate while missing her life of freedom in the sea, longing to escape. Tensions rise as she fails to meet Séan’s expectations, who both claims to love her idiosyncrasies, but is also angered by them. The symbolism is beautifully woven between real relationships born of entrapment and the Celtic mythology.

 

 

It was interesting how there was absolutely no chemistry between the pair. Words of love and affection felt empty and hollow, demonstrating the lack of real connection between the couple despite outward behaviour. While Séan seems infatuated by the idea of Rónnad, he fails to connect with her true self. Rónnad herself struggles to conform, trapped on the land, trying her best to love Séan without losing her own identity. Struggles often experienced by those who suffer abusive relationships.

The play felt a bit too short and could have used a few more scenes to really develop both the dysfunctional relationship and the growing tension between the pair. The lack of time smothered the play’s ability to escalate the emotional abuse more subtly and effectively.

The performances were strong, and I really enjoyed the creative directing in telling the story with minimal set design. I was drawn into their world thanks to well-designed lighting and audio effects. The choice of music to induce emotion was disappointing however, and could have been more effective without lyrics.

Selkie is currently playing at The Old Fitz Theatre as part of the Sydney Fringe Festival.

To book tickets to Selkie, please visit https://www.oldfitztheatre.com.au/selkie.

Photographer: Robert Miniter

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Nostalgic, Hilarious, Infectious Fun for Fans Old and New!

Stranger Sings! A Parody Musical

Stranger Sings! A Parody Musical Rating

★★★★★

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The Eternity Playhouse Theatre in Darlinghurst is a perfect blend of plush red velvet and modern design, creating a space that feels rich with history, despite modern touches. To the side of the stage, a small band waits eagerly, giving that unique thrill only live musical theatre provides. Early show wrinkles were handled with humour and camaraderie, immediately setting the tone for a show that thrives on both chaos and connection.

Stranger Sings! The Parody Musical is exactly what its title promises: a satirical, joyfully camp reimagining of Stranger Things. Across 90 minutes, Hawkins is gleefully turned upside down, with the iconic core four; Mike, Lucas, Dustin, and Will; at the story’s centre. Each young performer captures their role with razor-sharp comic nuance. Raven Swinkels gives Eleven both haunting presence and playful edge, while Anouk Macarthur Mitchell leans into Will’s fragility with endearing self-parody. Julien Daher’s winning Dustin brims with charisma, Ruben Aguilera hits the mark as earnest Mike, and Jahzara Mariasson brings fiery energy to Lucas.

And then, of course, there’s Barb. Belle’s powerhouse vocals ensure justice is not just served but belted to the back row, a standout that lit up the night. The wider ensemble provide a constant stream of physical comedy and energy, morphing into bullies, scientists, and perhaps most memorably, a gloriously camp Demogorgon. Together, their knack for timing and willingness to push into parody’s extremes kept the show fizzing with momentum.

 

 

The production is deliberately low-fi in its design, which only adds to its charm. Simple staging is enlivened with clever costumes, witty choreography by Anna Jaques, and inventive ensemble work that makes even the scene changes cheekily entertaining. Musical director Mitch Brown guides the band through a synth-heavy score that perfectly skewers the 1980s vibe, layered with inside jokes and knowing winks to pop culture.

Vocally, the cast are outstanding. Occasional mic issues threatened clarity, but the performers carried through with enough charisma and vocal strength that the cracks only showed how strong the foundations were.

What elevates Stranger Sings! beyond parody is its cheeky breaking of the fourth wall. These playful intrusions make the audience co-conspirators, reminding us all that this is both fan satire and affectionate send-up. Even for those of us who lost track of the show past season three, the humour lands. The references are sharp enough for superfans, yet broad enough to keep casual viewers grinning throughout.

Above all, the joy radiating from this young cast is infectious. They aren’t just parodying Netflix’s most nostalgic property; they’re celebrating the simple delight of putting on a show with gusto, fearlessness, and a palpable sense of fun. To see so much future talent unified in delivering something this funny, smart, and warm is a treat, and a reminder that Sydney’s next wave of performers is already here.

Did I want to leap onto the stage to join them? Absolutely. And that’s the upside-down magic of Stranger Sings!: a parody that revels in its chaos, and a cast that makes you want to be part of the ride.

To book tickets to Stranger Sings! A Parody Musical, please visit https://sydneyfringe.com/events/strangers-sings-the-musical-parody/.

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She Threaded Dangerously

She Threaded Dangerously

She Threaded Dangerously Rating

★★★★★

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The small, intimate Old Fitz theatre seemed like the perfect place to premiere She Threaded Dangerously, a bold new play by Simon Thomson and Emma Wright. The story follows four friends in an all-girl’s High School as they navigate the complicated dynamics of friendship, loyalty, and supressed desire, blinding them to the dangers around them.

The ensemble story jumps between each of the four girls as they wrestle with adolescence, sexual desire, and power dynamics, often putting them in conflict with each other. At the centre is a substitute male P.E. teacher some of the girl’s find attractive and dare each other to flirt with. They invite two boys from their twin all-boys school to a private party to drink and flirt, sparking rivalries and division. While skipping class, one of the girl’s meets an adult jogger who calls her an old soul. He strikes up what she believes is just friendly banter that makes her feel seen. Claiming to be a police officer, his manipulative grooming from a position of trust and power is uncomfortably insidious. The male characters balanced each other a little too obviously, with the two younger characters, and two older characters, each a pair of contrasting expressions of masculinity and authority put into conflict with the girls.

 

 

The story felt rushed, often moving along at such an exhausting pace it was hard to follow the banter being thrown around between the girls. Sometimes their screaming and yelling was a bit too loud for the tiny Old Fitz theatre and my ears were bleeding. Much like a High School, I guess. While the deeper themes are dark and uncomfortable, the various story threads could have used more depth or be taken in a surprising direction. Once you knew where each story was going it was predictable.

Karrine Kanaan, Alyssa Peters, and Larissa Turton do a great job as the girls, along with Claudia Elbourne, who also directs. Each embodied their characters convincingly, as did the supporting cast of Hamish Alexander, Michael Yore, and Leon Walshe. I particularly liked the sound design by Alexander Lee-Rekers, who created an intense soundscape mixed with music that reinforced the drama and chaos. Laila McCarthy’s set also worked beautifully in the limited space, using only a few carefully selected props and set pieces to craft a variety of locations that leaned into the power of theatrical imagination.

She Threaded Dangerously is an uncomfortable yet important exploration of teenage girls navigating a complex world of desire, power, and friendship, currently playing at the Old Fitz Theatre as part of the Sydney Fringe Festival until the 27th of September.

To book tickets to She Threaded Dangerously, please visit https://www.oldfitztheatre.com.au/she-threaded-dangerously.

Photographer: Karla Elbourne

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