We’ve all heard about the dinner and a show night out but what about dinner as a show? Table for Six, Please! brings together some of Australia’s best female musical theatre talent for a celebration of standout leading lady characters from across the decades. From Elphaba to Velma to Muriel and Rhonda, there was bound to be a favourite number for everyone in this line-up.Continue reading →
Two of Australia’s leading performers come together for an evening of romance and reminiscing. Combining numbers from world renowned operas and musicals, An Enchanted Evening offered a night of reprieve from this challenging year.Continue reading →
As Sydney slowly starts to re-open and theatres begin announcing their socially distanced programs, Genevieve Lemon and Max Lambert take an opportunity to reflect on lockdown with their favourite cabaret hits. Covering loneliness, baking, podcasts, and predictions for the future, Welcome to the Masque was a reintroduction to the simple love of performance in an altered reality.Continue reading →
Despite beginning a gay relationship, leaving his family, and having his wife marry his psychiatrist, Marvin is determined to maintain his tight-knit Jewish family even if it means cold shoulders around the menorah. The final two acts of a one-act musical trilogy combine to tell the story of a not-so-normal family and its not-so-nice head.
Life doesn’t stop for anyone. For this Lebanese-Australian family, they want to focus on their son and nephew’s christening but uncomfortable truths, family secrets, and the tension between love and belief threaten to unravel the carefully orchestrated day. It wasn’t what Danny planned for, but he may have found the limit of his family’s unconditional love.
The audience enters a smokey display room or warehouse space with frozen mannequins in tense suspension of the entrance of their leader. Under her authoritarian instruction the ensemble bend and eventually break out of their restrictive moulds to take control over their own bodies. Mea Culpa is an abstracted exploration of female bodily autonomy and the power of cooperation to overthrow systems of oppression.
Death changes everything: suddenly there’s a before and after, the continuity of a life cleft in two. In My Best Dead Friend, Anya spreads herself across this boundary to tell the story of her best friends including the Australian one, the clever one, the best one, and the dead one.
Inspired by true events, The Sapphires tells the origin story of an Aboriginal girl group on tour to entertain the troops in Vietnam. The four sisters bring their everything to the band and, over the long, hard few weeks away, they learn a lot more about themselves and the shifting dynamics of their childhood relationships.
Enemy cities, a tragic shipwreck, two sets of twins separated indefinitely: so goes Shakespeare’s farce A Comedy of Errors. In Hilary Bell’s adaptation for the National Theatre of Parramatta, the story retains all the instances of mistaken identity, unfulfilled plans, wrongful arrests, and a near execution while injecting a bit of Western Sydney flair.
Girl in the Machine imagines a future where the messy, complicated, and thankless jobs of care are automated. Sanitised of human contact and compassion, hospitals and medical professionals are obsolete, replaced by a small earpiece called Black Box. Focusing in on one marriage, Stef Smith’s play covers the conflict between technology and human connection, addiction, love, and the philosophy of life.