Koreaboo (Griffin Theatre Company), now playing at Downstairs Belvoir is actor and playwright Michelle Lim Davidsonâs story of being a Korean Australian adoptee. But as Lim Davidson states in her playwrightâs notes in the program, Koreaboo is not just her story; it is the story of so many international adoptees who have found themselves growing up caught between two cultures, perhaps always grappling with the unanswered questions: âWho am I?â and âWhere do I belong?â
The intimate space of the Downstairs Theatre at Belvoir is perfect for the cramped, fluorescent-lit convenience store or âmartâ in which most of the playâs action takes place. Hannah (Lim Davidson) arrives, straight off a flight from Sydney, at her biological mother, Ummaâs, mart during a sweltering Korean summer. Itâs soon revealed theyâve had contact before but this time Hannah has high expectations for her visit – she wants to finally connect with her Umma, and she desperately wants some answers to her long-held questions about her Korean family.
Umma, played delightfully by Heather Jeong, smiles sweetly, but her apparent cuteness belies a stubborn determination to avoid her past at all costs. Her life is firmly situated in the present, stacking ramen cups, fixing a pesky fridge light and tending to her colourful collection of garden gnomes. Umma would rather Hannah had never turned up on her neatly swept doorstep. And she doesnât hesitate to take any opportunity to remind Hannah of this.
Michelle Lim Davidson is a gifted comedic actor, and in writing Koreaboo, she has wisely used comedy to portray a heartbreaking story. Rather than making her story glib, however, the humour serves to help us connect with the pathos of the situation, avoiding melodramatic cliches that other stories of reuniting with lost relatives might fall into. Initially appearing to be an odd couple, it soon becomes clear Hannah and Umma both share a love of performing.
Hannah tries to impress Umma with a rendition of her winning âAll That Jazzâ number for the Lake Macquarie Eisteddfod 12 years category, but Umma is scathing: âYour mother let you wear a sequinned leotard at 12?â Umma who is obsessed with the talent show Star Power (think Australiaâs Got Talent K-style) lives out her own unfulfilled dreams through the contestants on screen. The reality show becomes a point of connection for the two: What if Hannah can revive her long-dormant stage skills and win Star Power? Would Umma finally accept her then?
K-pop culture infuses Koreaboo. Umma randomly quotes from K-pop songs and is obsessed with the eerily pretty Korean pop star, Suga. In fact, the term âKoreabooâ (far from just a cute sounding name as I initially thought), is slang for a non-Korean person who is infatuated with Korean culture, especially K-pop and K-dramas. But, itâs not applied in a complimentary way. Is Hannah a âKoreabooâ, someone who is desperately trying to be Korean but never will be?
Derogatory term or not, Koreaboo is a delightful story that deserves to be told, but also to be seen. My hope is that more untold stories of adoptees like Michelle Lim Davidson are given a platform (or stage), rather than being ignored or conveniently brushed under the carpet. How many other cross-cultural stories do Australians have that are waiting to be told? Griffin Theatre Company has shown again that they truly are the grassroots champion of home-grown Australian theatre, giving voice to contemporary, multicultural Australian stories.
Wow! What a yummy treat this cabaret was. I ate it up and didnât want it to end! TomĂ ĆĄ 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 TomĂ ĆĄ as Sugar. Honestly, in this economy, who hasnât contemplated taking the âeasy way outâ and becoming a sex worker after watching Pretty Woman. Especially easy to relate to if youâve ever been a struggling uni student living in a share house.
TomĂ ĆĄ 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. TomĂ ĆĄ and Bullet Heart Club (Ro Bright – show writer & Kitan Petkovski – director) deserve high praise for this!
Donât 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 âeasy money.â 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! TomĂ ĆĄ 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, TomĂ ĆĄ is a talent to watch. Look out EdinburghâŠ
Mary Poppins would have to be one of the most well known stories from everyoneâs childhood. To see it in a musical, no matter how many times youâve 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 â 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 doesnât 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 Maryâs âspit spotâ personality and even when she takes her bow at the end of an energetic finale she remains the âprim and properâ 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; Iâve always loved him. Heâs 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 – heâs funny and so engaging with the audience that we think at times we are about to jump in the show with him. âThat was a little bit scaryâ 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 itâs all done with crazy wonder, like a broken toy âValentineâ (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 âŠ
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. Caleâs 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 husbandâs employers and you realise the story of âMary Poppinsâ 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 kidsâ audition slots are usually quickly booked out. Iâve 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 familyâs 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 doesnât forget about her actions in smaller details either. Charlie as Michael Banks has all his mischievous and comically naughty expressions down pat. Iâll bet he had tons of fun doing this show practicing them as heâs very genuine in his antics. Both of these kids are unforgettable as Jane and Michael, well done!!! (Note: the childrenâs 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 âMary Poppinsâ 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 âStep in Timeâ. 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; âyes, good job, woo hooâ Iâm saying all the way through as they partner up and nail their formations. Tap dancing is a rarer skill displayed these days but youâll definitely get a fix at this one. Iâm 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 âyou liked the noise?â) – how gorgeous and itâs worth having your kids be noisy to learn tap.
My Mumâs 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 âFeed the Birdsâ 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 Marinaâs face said it all; kindness is king.
A shout out to the formidable nanny come-back of Miss Andrewâs âHoly-Terrorâ 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 âa spoonful of sugarâ or âchim chim cher-eeâ 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 donât 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.
Apologies in advance, I tried to catch as many names of these talented performers as possible but I have definitely missed some and will jumble them up. Homo Grown was an absolute treat! For this queer musical lover, it was like a slice of Heaven.
Host and co-founder of âHome Grown Ausâ, Nick Ledger, opened us with Princess by Matthew Lee Robinson. Home Grown Aus, co-founded by Nick and husband Ben Nicholson, is the grassroots movement championing and producing original new works in Australian musical theatre. I actually attended a reading of âMackenzieâ by one my favourite musical theatre writers, Yve Blake, earlier in the week. That was produced by Home Grown and Hayes Theatre.
Our next act was a stunning cameo by Australiaâs first female Prime Minister, performed by Mandy Isher. It brought the house down and the energy up to stay.
McBeanie and Hurley then performed a duet based on their musical chronicling the life and times of (very) obscure playwright, Robert Wiseman. This was a cute little back and forth called âThe First Time I Met Youâ and left us with heart eyes for this real life couple.
Powerhouse Carla then took to the stage with âWeâve Got Chemistryâ by Jordy Thomas. Those pipes!! Carla has power and presence and a sexy, sultry voice. With this melting âOohâ that was like liquid chocolate! And I even I understood most of the chemistry puns, despite flunking science! Carla lights up the room and is an artful performer.
Yasheith performed âOne Day In Septemberâ by Maverick and Cohen, about a closeted football star. Yakeithâs performance was earnest and nuanced, with unique use of dramatic timing. Such a beautiful voice too.
Nick Hedger returned to the stage with a love song for the gamers, nerds and misfits. It was a rock opera style ballad that hit the feels.
Robbie Alexander gave us a taste of the opening of their upcoming musical, warning it would be long and referred to it as their âBohemian Rhapsodyâ. It was such a wonderful song that leaves me wanting to watch the whole musical. Charlie is the main character, who just canât make main character status, so âOther Charlieâ steals their limelight. The two Charlies and an ensemble of three delivered this number, with Charlieâs therapistâs voice being absolutely extraordinary!
Nick returned for an homage to Peter Allen which was poignant and touching.
The next was from a musical about netball. The names here got quite muddled for me. I think Sophie Davies and Harry Collins may be the composers. Lauren introduced the mother/daughter duo performance of âMarried To Netballâ which was absolutely hilarious and both Addie Robinson and Sinead Christado nailed the song.
We then finished with an entirely canât-possibly-be-human performance by Carla once more. As a singer myself, I was left completely at a loss as to how one voice can do so many things and yet make it look like itâs the simplest thing in the world! I told my Plus One that Carla has to be AI!
It was such a wonderful and joyful hour of celebrating queer musical theatre creatives. I am already a big fan of Home Grown and the work they are doing, and I am so excited to see these upcoming new works and more of these incredible performers. Australia really does have talent!
