Set in a small outdoor space, Hannah Maxwell is larger than life as she takes you through her traumatic, amusing, and relatable mis/adventures with her thespian theatre family. Up close and personal with Hannah means seeing every minute facial change, being meditated through set changes, and if youāre lucky, shoes will exit stage left right by your head (no offence taken, it was a terrific throw).
Hannah sheds a lighthearted approach to her coming out story to share with her audience. Connecting with everyone in the audience as she regales us with her tale set in the year 2010, it feels less of a theatre show and more of a gossip session with your friend. You will find yourself leaning forward in your seat to listen more closely, not because of how she is speaking, but because you want to hear what she has to say next. The story isnāt difficult to follow, but itās very real, and you wonāt want to miss a single word or dance move.
With minimal lighting that was outshone by the setting sun, a stage floor of bricks, props that have been with Hannah for years, the performance gives a raw, homey feel ā¦ but with the masterful story manipulation of a seasoned thespian who isnāt afraid of having people staring at her without the safety net of the curtains. āI, AmDramā doesnāt need to indulge in complex sets and overly complicated props. There is a small TV and sound system to add layers of backstory, depth, and extra sounds effects while Hannah bounces around the stage; they only deter from the show when the remote decides it doesnāt want to work, but Hannah takes it all in her stride and makes it feel a part of the show. Hannah is captivating as she dances you through her story in a whirlwind of songs, nostalgia, and that one song she can play on the piano with two hands.
Hannah will encourage you to talk back and sing along, and if youāre very lucky, you may even get to assist with holding props. Just as you think you know where the story is going, Hannah takes a breath and throws a new obstacle or belts a musical number. Expect the unexpected, be prepared to ball change and laugh your way through.
Theatre kids, anyone whoās come out of the closet, and everyone in between should have āI, AmDramā on their 2026 Adelaide Fringe to-watch list, and be prepared to laugh, sing, tap your feet, and participate.
Mamma Mia! is Ī¼ĪµĪ³Ī±Ī»ĪæĻĻĪµĻĪ®Ļ (magnificent!)
A little Greek island has popped up in Melbourneās beautiful old National Theatre.
As I arrive walking in behind two girls who had been turning heads walking down the footpath in full blue jumpsuits and white boots, many more were in the foyer dressed up Insta-ready for a night in the world of ABBA songs and a journey of love, laughter and finding out whatās really important about family.
Iāve seen Mamma Mia! 12 times and each time I love it more. Who doesnāt love ABBA? Well, if you donāt, donāt let it stop you from going because this musical offers surplus to ‘thank you for the music’.
The story in Mamma Mia! is super-charged with questions. āWhat wouldāve happened if Iād done that?ā āWhat will happen if I do that now?ā
This is where Mamma Mia! sits – a story centering around an important choice where villa owner Donna, played exceptionally well by Bek Chapman, chose to embark on a solo-parenting life. Her now 20 year old daughter Sophie, played beautifully by Belle Parkinson, is confused as to why she does not know her Dad and so invites three potential mentions in Donnaās old diary to her upcoming wedding at the villa, but without telling her mother she has done so. Donna and Sophie share many heartfelt moments and the fact they look similar make it more believable as mother and daughter co-stars. (I tried not to cry this time at āSlipping Through My Fingersā but did not succeed – likewise I have girls who wore pigtails)
Strong performances by Sophieās three possible Dads, all played by accomplished thespians, Sam Anderson as Sam Carmichael, Shannon Foley as Harry Bright and Luke Stephens as Bill Austin, they all give each of their characters due seriousness and light-heartedness. When you have three leads like this with this type of experience you are going to get a WOW factor regardless; they bounce off each other like theyāve been performing the show for months already.
Adding to the males in this impressive cast is Jesse Vasiliadis as Sky (Sophieās future husband). Jesse is a grad of WAAPA Fine Arts Acting, I particularly felt all his lines were so well delivered I couldāve been watching the movie in those parts, and in any of the more complex movements required about the stage at various times he was also nimble on his feet!
Skyās buddies Pepper played by Abe Geyer and Eddie played by Deklan Haas were every bit the clowns, so funny!
As for Sophieās supportive besties; Elena Atanasovski is fabulous as Ali, her training at Jason Colemanās Ministry of Dance definitely shows; and Ally Long as Lisa, a graduate from the Queensland Academy of Excellence in Musical Theatre – yes excellent! They both understudy main roles too so look out for these two.
There is some hard-hitting choreography in this rendition (by choreographer Adriana Pannuzzo). The energy of the cast is overall infectious and I loved how they added dancers on side to many songs. The āmoving bedā is a huge prop to work with and is shown off by brilliant co-ordination of lighting (Ian Scott). The choreography particularly in this scene, āUnder Attackā, is absolutely well thought out as itās difficult to make such a scene look seamless.
As is common in this musical, the audience went wild for all the boys in their flippers on stage with the character of Donnaās friend Tanya played by Sasha Hennequin teasingly singing āDoes Your Mother Knowā and this is usually my favourite. It was fantastic as always and Sasha is superb as the foxy Tanya, however my smile muscles got another good workout watching the interactions of Donnaās other bestie Rosie played by Antoinette Davis with her very direct sex appeal toward the initially hesitant, but then enthusiastic Bill played by Luke Stephens – they were frick” hilarious!!! That āTake a Chance on Meā scene stole ābest in showā for me this time around.
Within the ensemble I noticed constantly Patrick Friedlander shining and later learned with no surprise he is a WAAPA graduate and was chosen as the showās Dance Captain. Another was Geelongās Lily Mullen-Wood getting my attention, I flip through the program and yes no wonder, sheās currently training at Transit Dance with Andrew Hallsworth. Definitely two to watch in future amongst this whole group of top talents.
Finale was sparkly and spectacular with the biggest ABBA hits! āMamma Miaā, āWaterlooā and naturally āDancing Queenā saw EVERYONE getting involved in the atmosphere, and I have to give credit to Karen Spencer for her outstanding use of having those quick change costumes!
I recommend you grab a bunch of friends (Abba loving or not), dress up (or at least wear something blue), and say I do I do I do want to go see Mamma Mia!
Congratulations to Director Pip Mushin and Musical Director Kent Ross working on this show with Executive Producer Andrew Gyopar and their entire production team, cast, crew and creatives.
CAST: DONNA – Bek Chapman SOPHIE – Belle Parkinson SAM – Sam Anderson HARRY – Shannon Foley BILL – Luke Stephens ROSIE – Antoinette Davis TANYA – Sasha Hennequin ALI – Elena Atanasovski LISA – Ally Long SKY – Jesse Vasiliadis PEPPE – Abe Geyer EDDIE – Deklan Haas ENSEMBLE – Alessandra Negro, Angelo Vasilakakos, Darcy Ward, Gabrielle Ward, Isabella Gangi, Isabelle Pascua, Joey Phyland, Lauchie Mant, Lily Mullen-Wood, Matilda Simmons, Patrick Friedlander, Sophie Loughran, Steve Thomas.
Andrew Lloyd Webber’s “CATS” is a stunningly colourful and athletic musical that audiences, young and old, thoroughly enjoyed on Sunday evening’s performance.
Upon walking into the theatre, we were greeted by the backdrop of an alley, scattered with fantastical depictions of trash or lost items. Festoon lights were hung around the stage and across one of the bannisters above the audience. Many platforms and footholds were around the stage, which gave the cats many places to enter scenes, hide, and leap from.
While a good portion of the show included basic white wash lighting, flashing lights/strobe, pyrotechnics, and different coloured lighting created the desired effects and were appropriately timed. Costumes and Makeup were stunning and thoughtfully crafted, and I could hardly take my eyes away from the intricate details and grungy aesthetics.
As someone who had not seen CATS in person before, I was unaware of the more interactive aspects of the show. Occasionally, some of the cats would enter the audience via the front two rows. They would play with the strap of someone’s purse, bump paws with audience members or serenade them. It was an interesting way to break the fourth wall and keep people engaged. Those who book their seats close to the stage should be made aware of this ahead of time.
All dance routines were highly polished and were done to seem effortless. In between routines, each cast member maintained their character by including feline mannerisms in their recline. Dance intervals featuring the White Cat (Claudia Hastings) and Mr Mistoffelees (Tim Haskayne) were especially memorable and very impressive. As well as their poise, apparent professionalism and acrobatics, support from the remainder of the cast really brought each of the performances together seamlessly.
The audience thoroughly enjoyed songs such as “Mr Mistoffelees,” “The Rum Tum Tugger,” “Gus: The Theatre Cat,” “Skimbleshanks, the Railway Cat,” and of course, the much beloved “Memory,” and its reprises. All vocals were fantastic and blended well, with notable mentions to Des Flanagan (Rum Tum Tugger), Jarrod Draper (Munkustrap), Mark Vincent (Old Deuteronomy) and Gabriyel Thomas (Grizabella). It is a highly enjoyable experience to see cast members have fun doing what they do best, committing to their roles in such a way that seems effortless.
From the costumes to the effects, everyone who plays a role in making CATS what it is did a fantastic job, and I highly recommend this production.
Merrrigong Theatre Companyās Theatre Under the Stars presenting Sport for Joveās āThe Comedy of Errorsā opening night was a smash hit.
Outdoor theatre is always a good idea, and this performance showed exactly why. The staging, the technical elements, the beautiful lighting and abundance of excitement from the crowd (despite the high temperatures) created the most perfect atmosphere for an unconventional night at the theatre. Paper fans were provided by the staff to keep everyone cool and in high spirits until the sun set, which was a lovely and considerate touch. Iād recommend some sunscreen if you burn easily, as the seating area is uncovered, but the sunset is the perfect background as the plot begins to pick up and the lighting comes alive.
There was a lot to love about this show. As one of Shakespeareās earliest and most fast-paced plays, āThe Comedy of Errorsā is often not what first comes to mind when Shakespeare is brought up. This modern interpretation is the perfect blend of traditional and current humour and faux pas. Itās very easy to do Shakespeare badly, and incorporate too much or too little modernity, but Sport for Joveās found that perfect balance that left the audience captivated and enjoying every minute.
The stunning voice of Naomi Belet has to be talked about. Her performance, whilst not a lead character, was an absolute standout. Her presence was abundant and whether she was in the background or centre stage, she was something to watch. She deserves all the applause, accolades and opportunities in her career.
The cast as a whole, were energetic and switched on, which makes any performance, but especially a comedy, just so much fun. Whether it was physical comedy or Shakesperean humour, or modern humour, it was just genuinely funny and not forced. Itās so easy to push the audience away with a comedy, and exasperate them with miscommunications and over-done jokes, but this was just perfect. You didnāt want to look away in case you missed anything as there were subtleties from supporting characters as well as the main action. They pushed through minor technical issues that made little impact as they could be heard from the back without their microphones on the odd occasion.
For those who describe themselves as ānot Shakespeareā people, but enjoy a fun night out and a laugh, I would highly recommend this play. This is such peak Shakespeare in the way that you donāt need to understand every word to be able to follow along and enjoy the performance. It is such an accessible presentation that I urge everyone to buy a ticket and come alone. It is the least intimidating Shakespearean adaptation Iāve seen (and I have seen a lot of Shakespeare in my time) and it just opens up this little slice of history for anyone and everyone.
In all honesty, I think this may be one of, if not, the best, performance I have had the pleasure to review. I cannot recommend this enough to everyone. It would be a shame to miss this, so make sure you grab a ticket, bring a picnic, check the weather and plan accordingly, and have an amazing night out! āThe Comedy of Errorsā runs until the 22nd of February at the University of Wollongongās Koolobong Oval.
