Jesus Christ Superstar REVIEW 20 March 2025 *** (3)

THEATRE

Music by Andrew Lloyd Webber, Lyrics by Tim Rice

At Princess Theatre until 22 June 2025

Reviewer: Kate Herbert

Stars:  *** (3)

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 5 April 2025. KH

Michael Paynter and Ensemble in JESUS CHRIST SUPERSTAR (c) Jeff Busby

 

Jesus Christ Superstar is one of composer Andrew Lloyd Webber and lyricist Tim Rice’s most successful and enduring collaborations. This new production by Timothy Sheader, originally created for Regent’s Park Open Air Theatre in London, hit the stage at the Princess Theatre in Melbourne to a rousing response from the excitable opening night crowd.

 

Superstar is beloved not only because it is based on the iconic biblical story of Jesus Christ. It is a musical filled with thrilling and memorable melodies, rich harmonies, complex music and orchestrations and passionate characters. The show is sung-through, meaning there is no dialogue so the story and the characters must come to life through the voices, the lyrics, the songs and their performances.

 

This new version of the musical, directed by Timothy Sheader, is vocally strong, with powerful rock singers in leading roles and a skilful ensemble that carries the harmonies. However, this show demands potent interpretation and performance of the songs to successfully express the layers of the narrative and illuminate the characters and their emotional lives.

 

It also needs the vocals to be heard clearly over the music; there were times that the lyrics were totally lost and we had to rely on knowing the song or knowing the story. (Spoiler: he dies in the end!)

 

Michael Paynter, playing Jesus, is a talented rock singer and he propelled the opening night audience to its feet after he belted out Gethsemane. However, he lacks the requisite stage charisma for the role, and his singing is so embellished with bold, vocal acrobatics that the meaning of the lyrics – Jesus pleading with God about not wanting to die – is lost.

 

Previous productions make Judas the focus as it is he who challenges Jesus about losing sight of their original aims and succumbing to his followers’ adulation. Is Jesus believing his own publicity? As the lyrics say, “Do you think you’re what they say you are ?”

 

Jovan King is a passionate Judas, and his voice is rich and versatile, but the character only takes centre stage during his songs. He is overwhelmed by the crowd on stage and almost disappears amongst the crowds of dancers.

 

We need a compelling relationship and argument between Jesus and Judas, or the intention of the narrative fails. I can’t help recalling Tim Minchin as Judas stealing the stage with the subtlety and complexity of his performance.

 

Mahalia Barnes is also a talented rock singer, but her Mary Magdalen lacks the stage presence and the emotional range and depth needed for a song such as I Don’t Know How to Love Him.

 

Reuben Kaye is a show-stealer as Herod, prancing about in his regal, drag outfit complete with gold cape and codpiece and long, black boots. It was worth the wait to see him! Another highlight was Peter Murphy’s solo of Pilate’s Dream and the High Priests.

 

The ensemble of skilled dancers portrays Jesus’ fans and zealots, then his apostles and, finally, the rabid mob baying for his crucifixion. The chorus’s rendition of What’s the Buzz is exhilarating and their harmonies stirring in Hosanna.

 

However, the choreography (Drew McOnie) was busy and bewildering. It not only filled the stage with a crowd of writhing or jerking bodies, but it obscured our view of the lead characters, masked any nuances in relationships and distracted from the  performance of songs.  At the very start and intermittently throughout, a single female dancer took the focus for what seems to be some symbolic reason that remains unclear to me.

 

Much of the horror of Jesus’s abuse at the hands of the persecutors and the High Priests is lost when the mob lashes him with glitter – yes, handfuls of glitter! This is only one example of the way this production undercuts the depth of emotion and the impact of the narrative with its theatrical choices.

 

Perhaps the crowded feeling of the staging suggests that the Princess Theatre stage is smaller than previous iterations of this version and the focus on voices and dancers rather than performance has its origins the first, open air theatre production. Just musing!

 

It is a pity to say that, ultimately, this Superstar falls flat, despite having a cast of super singers.

 

By: Kate Herbert.

 

Michael Paynter and Ensemble in JESUS CHRIST SUPERSTAR (c) Jeff Busby

Cast

Michael Paynter - Jesus

Javon King - Judas

Reuben Kaye – King Herod

Elliott Baker - Caiaphas

John O'Hara -  Annas

Mahalia Barnes - Mary Magdalen

Peter Murphy - Pilate

Ensemble and swings: Joshua Dormor, Darcey Eagle, Josh Gates, Samuel Harmon, Melanie Hawkins, Marie Ikonomou, Graeme Isaako, Ethan Jones, Tana Laga'aia, Bella Massey, Danielle Matthews, Calista Nelmes, Gus Noakes, Stellar Perry, Nathan Pinnell, Clay Roberts, Henry Rollo, Josh Spiniello, Bree Tipoki, Jordan Tomljenovic and Nic Van Lits.

 

Creative Team

Timothy Sheader – Director

Drew McOnie – Choreographer

Tom Scutt – Set & Costume Designer

Lee Curran - Lighting Designer

Tom Deering – Musical Supervision.

 

 

 

 

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Peter Murphy as Pilate in JESUS CHRIST SUPERSTAR (c) Jeff Busby

The Removalists REVIEW MTC 15 March 2025 ****

 THEATRE

The Removalists by David Williamson, Melbourne Theatre Company

At Southbank Theatre, The Sumner, until 17 April 2025

Reviewer: Kate Herbert

Stars: **** (4)

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 5 April 2025. KH

MTC The Removalists - Michael Whalley and Steve Mouzakis - Photo by Pia Johnson

David Williamson's The Removalists has lost none of its impact since its first production in 1971 at the tiny La Mama Theatre; it is still a vigorous, brutal and unflinchingly honest depiction of societal issues, male violence, marital abuse and police corruption.

 

In this 2025 production for MTC, Anne Louise Sarks’ tight and compelling direction creates a visceral, uncomfortable experience that sees simmering tension between characters erupt into shocking violence.

 

Williamson's script exposes the ugliness lurking beneath the veneer of suburban normality and lays bare the insidious nature of police corruption, the pervasiveness of domestic violence, and the suffocating grip of what was then called macho male behaviour and is now referred to as toxic masculinity. The play cunningly incorporates comic dialogue, particularly in earlier scenes, that distracts the audience so that the ensuing drama is a rude shock.

 

Sarks' direction amplifies these themes, never shying away from the play's raw, emotional power, while the banality of the staging captures the ordinariness of the suburban world within which these personal dramas unfold.

The characters are trapped in the closed, almost claustrophobic environments of a two-man police station and a modest home within which the unease builds steadily until the inevitable, devastating climax.

 

The performances are compelling, consistent and nuanced, but accolades must go to Steven Mouzakis who plays, with chilling calm, the deceptively easy-going but menacing Sergeant Simmonds whose overbearing presence pervades both the police station and the home. Mouzakis balances the comic elements of Simmonds dialogue with the grim reality of his behaviour.

 

William McKenna embodies pathetic, youthful bluster of Constable Ross who finally loses his rag; Eloise Mignon portrays the desperate vulnerability of Fiona while Michael Whalley is muscular and aggressive as her bogan husband, Kenny, and Jessica Clarke captures her sister Kate’s confidence, defiance and confrontational attitude to bombastic men.The female characters, however, are not fully rounded, perhaps because the play's focus is on the male characters.

MTC The Removalists - Steve Mouzakis and William McKenna - Photo by Pia Johnson

 

 

While all this passion and aggression unfolds, Martin Blum’s removalist is a still point on stage; the objective observer, the disinterested, task-driven removalist who has a job to do and nothing, not even brutality and abuse, will stop him moving that sofa.

 

The violence, when it erupts, is more shocking because of its stark realism and the contrast with the earlier humour. It's not gratuitous, but rather a horrifying depiction of the consequences of misogyny and abuse of authority.

 

The Removalists is a powerful, thought-provoking play that holds a mirror up to society, reflecting a deeply flawed system. It confronts uncomfortable truths and the structures that enable such brutality. Sarks' direction highlights the play's enduring relevance, reminding us that these issues, unfortunately, continue to plague our world.

 

By Kate Herbert

 

Cast

Steven Mouzakis - Sergeant Simmonds

William McKenna - Constable Ross

Eloise Mignon – Fiona

Jessica Clarke – Kate

Michael Whalley - Kenny

Martin Blum – Removalist

 

Creative Team

David Williamson – Writer

Anne-Louise Sarks – Director

Dale Ferguson – Set Designer

Matilda Woodruffe – Costume Designer

Niklas Pajanti- Lighting Designer

Marco-Cher Gibard – Composer & Sound Designer

Nigel Poulton – Fight Designer

Amy Cater – Intimacy Coordinator.

 

Djuna REVIEW 14 March 2025 **

THEATRE

Written by Eva Rees, by Darebin Speakeasy

At Darebin Arts, until 23 March 2025

Reviewer: Kate Herbert

Stars: ** (2)

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 15 March 2025. KH

Dion Mills in DJUNA by Eva Rees_image  Darren Gill.

DJUNA is Eva Rees’ 90-minute play that tracks a series of clandestine meetings between Marcus, a middle-aged, wealthy, apparently heterosexual man (Dion Mills), and a submissive young, trans woman (Jay Gold) who is initially names herself Chloe or Casey but, by the end of the play, is identified as Djuna.

 

In their intimate and secret encounters over about two years, the pair engages in a dominant- submissive relationship that explores fantasies that verge on the dangerous and culminate in graphic violence. As the relationship progresses, Djuna is medically transitioning and becoming more confident, while Marcus is increasingly delusional.

 

The play explores power, identity, generational differences, mental illness and some broader social issues. Rees and director Kitan Petkovski employ a fusion of styles that includes bloody horror, psychological thriller, naturalistic drama and socio-political commentary.

 

The two performers are capable; Gold captures the coy, under-confidence and submissiveness of Djuna, while Mills finds an underlying, sometimes overt danger in the character of Marcus (He’s always a compelling presence in Red Stitch shows).

 

There are some problems arising from the script and direction. The blending of styles sometimes slides into confusion, while Kitan Petkovski’s production is patchy with uneven pacing and some uncomfortably slow-moving dialogue.

 

Rees script is uneven and the many and disparate narrative threads are not effectively integrated, including the repeated references to: politically motivated protests – or are they riots? – outside the hotel room; Marcus’s wife and daughter; to Djuna’s family; and her struggles with gender identity, self-harm and mental illness.

 

The characters’ episodic meetings are peppered with meandering dialogue that ranges from inconsequential chit chat to overwrought and oddly philosophical, socio-political exchanges or diatribes. The characters and their problems are strangely unmoving, while the production’s attempts to scare, horrify or trigger the audience are strangely ineffective.

 

The soundscape is distressingly – and intentionally – jarring, intrusive and loud, while the scene changes are bizarre, to say the least; Two ASMs, clad in white, crime scene overalls and hazard masks, silently change the set under the pretext of cleaning up the hotel room. Their actions, dress and the bloody traces visible under ultra-violet light, telegraph the impending violence, and their silent overacting undercuts any tension and dilutes the intensity of the scenes.

 

Ultimately, the production feels both cluttered with themes and, simultaneously, lacking in depth. Perhaps, with more rigorous dramaturgy, a stronger, more concise and moving play might emerge.

 

by Kate Herbert

 

Cast Jay Gold and Dion Mills

 

Creative Team

Written by Eva Rees

Directed by Kitan Petkovski

Stage and costume design by Bethany J Fellows AV and sound design by James Paul

Produced by Bullet Heart Club

Dion Mills (with cigarette) & Jay Gold in DJUNA by Eva Rees_image  Darren Gill

 

 

KATE HERBERT RADIO REVIEWS Arts Weekly3MBS SAT 15 MAR 2025

 

In this radio spot on Arts Weekly on 3MBS on Sat 15 March, I chat with Nick Tolhurst (producer) and Phillipa Edwards  (host) about DJUNA by Eva Rees at Darebin Speakeasy. We  then discuss the role of dramaturg in new work, the types of productions that are being promoted in new work in Melbourne. We then briefly talk about The Removalists by David Williamson (1971) that opens tonight Sat 15 March at MTC. We muse on what is “Australian-ness” now.

 Click on link:

Radio REVIEWS Arts Weekly3MBS SAT15MAR2025

 

KATE HERBERT Arts Weekly3MBS SAT1MAR2025

In this radio spot on Arts Weekly on 3MBS on Sat 1 March, I chat with host, Phillipa Edwards about my reviews of And Then There Were None by Agatha Christie, at Comedy Theatre, Melbourne, and Truth by Patricia Cornelius at Malthouse. 

 It's 11min 15.

 

 

And Then There Were None REVIEW 22 Feb 2025 ***1/2

 

THEATRE

Written by Agatha Christie

At Comedy Theatre, Melbourne until 23 March 2025

Reviewer: Kate Herbert

Stars: ***1/2

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 1 Mar 2025. KH

 

Cast-And Then There Were NoneMelbourne-Pic Jeff Busby

Agatha Christie's murder mystery play, And Then There Were None, adapted from her iconic novelA, has a cunningly simple premise: ten strangers, each harbouring a dark secret from their past, are lured to isolated Soldier Island by a mysterious host. A storm rages outside and they are trapped and, one by one, the guests meet their untimely deaths. Suspicion grows, accusations fly and the remote and opulent mansion becomes a deadly prison.

 

Christie was a master of suspense and her genius lies in her ability to manipulate the audience's expectations. And Then There Were None is not merely a jolly old murder mystery, it is an exploration of guilt, justice, and the corrupting nature of secrets.

Each character is flawed, haunted by past actions they desperately try to conceal. Christie peels back their layers, slowly revealing the darkness that lurks beneath their carefully constructed facades. We witness the unravelling of their civility as fear and self-preservation grip them, turning them against each other in a grim fight for survival.

 

Robyn Nevin’s production explores the claustrophobic atmosphere and mounting tension but does not take itself too seriously, capturing the playfulness of Christie’s ever-so-British dialogue that ranges from witty quips from smart-mouthed young men, to the whining and carping of the “downstairs” staff: the cook and butler.

 

The versatile and capable cast features some very fine Australian theatre actors, all of whom relish the cleverly wrought dialogue and the twists and turns of the script.

 

And Then There Were None is not merely a whodunit; it's a psychological thriller that delves into the darker aspects of human nature leading us down blind alleys and planting seeds of doubt that keep us guessing until the very end. It is a testament to the enduring power of a well-crafted mystery. Thank you, Mrs Christie!

 

Cast

Jack Bannister -Anthony Marston

Eden Falk – Dr Armstrong

Jennifer Flowers – Emily Brent

Nicholas Hammond – General Mackenzie

Mia Morrissey – Vera Claythorne

Peter O’Brien – William Blore

Christen O’Leary – Mrs Rogers

Chris Parker –Fred Narracott

Anthony Phelan – Sir Lawrence Wargrave

Grant Piro – Mr Rogers

Tom Stokes – Philip Lombard

 

Creative Team

Robyn Nevin – Director

Paul Charlier – Sound Designer

Trudy Dalgliesh – Lighting Designer

Dale Ferguson – Set & Costume Designer

Truth REVIEW Malthouse Theatre, 18 Feb 2025 ***1/2

THEATRE

Written by Patricia Cornelius, by Malthouse Theatre

At Malthouse Theatre until 8 March 2025

Reviewer: Kate Herbert

Stars: ***1/2

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 1 Mar 2025. KH

Truth_cast- photo Pia Johnson

Patricia Cornelius’ new play, Truth, directed by Susie Dee, is an ambitious examination of whistleblowers and “hacktivists”, with a focus on the complex and confusing moral landscape that surrounds hacking as a form of political protest.

 

At the heart of the play is Julian Assange, the eccentric, driven and flawed man who started WikiLeaks and was accused of treason by the US government. However, Cornelius depicts some hackers – known only by their online “handles” – that started the hacktivism, and also deals briefly with Chelsea Manning and Edward Snowden’s whistleblowing.

 

Cornelius’ play is unflinchingly committed to exploring uncomfortable truths, interweaving historical context, personal narratives and philosophical debates, although the script is sometimes too didactic and dense with information. She portrays the complexities of Assange’s character, exposing both his brilliance and is flaws.

 

Dee's production, performed by a skilful ensemble on a minimalist set with inventive multimedia, creates a feeling of confinement, mirroring the psychological pressures and ethical dilemmas faced by the characters.

 

Perhaps the most powerful moment in the play is the chilling, authentic drone footage of the horrific killing of Iraqi civilians by US forces. The cold, detached perspective of the drone camera, juxtaposed with the actors' voices portraying the callous indifference of the operators, is a stark reminder of the real-world consequences of the information Assange and WikiLeaks sought to expose.

 

Truth is not a comfortable night in the theatre; it will leave you talking about its issues on the way home and those images of drone killings with haunt your dreams.  It challenges the audience with complex issues and an unwavering commitment to truth-telling that demands our attention and critical thinking.

 

by Kate Herbert

 

 

Creative Team

PATRICIA CORNELIUS -Writer

SUSIE DEE - Director

MATILDA WOODROOFE -Set & Costume Design

PAUL JACKSON -Lighting Design

KELLY RYALL – Sound Design

MERI BLAZEVSKI -Video Design

 

Cast

EMILY HAVEA -Ensemble

TOMÁŠ KANTOR -Ensemble

JAMES O’CONNELL -Ensemble

EVA REES -Ensemble

EVA SEYMOUR -Ensemble

 

 

 

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KATE HERBERT Arts Weekly 3MBS SAT 15 FEB 2025

In this radio spot, I review Macbeth by Australian Shakespeare Company, at Botanical Gardens in Melbourne until 28 Feb 2025. 

This is a very short chat with Nick Tolhurst.

Macbeth REVIEW Australian Shakespeare Co. 7 Feb 2025 **** (4)

 

THEATRE

Macbeth by William Shakespeare, Australian Shakespeare Company

At Botanical Gardens. Melbourne until 28 Feb 2025

Reviewer: Kate Herbert

Stars: ****

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 15 Feb 2024. KH

Hugh Sexton (Standing as Macbeth) with Company - Macbeth - Photo by Ben Fon.

 

In Glenn Elston’s gritty, outdoor production of Shakespeare’s dark and tragic play, Hugh Sexton delivers a magnetic and commanding performance as Macbeth, a formidable military general in the Scottish King Duncan’s army. Sexton’s portrayal is both powerful and credible, capturing Macbeth’s initial nobility and his subsequent descent into paranoia and madness with remarkable intensity.

 

Staging a production of Macbeth outdoors, without the usual theatrical trappings, presents its own set of challenges, particularly in maintaining the play’s dark and oppressive tone. Yet, Elston creates a production that is atmospheric, dynamic, and emotionally gripping. The raw, open-air setting paradoxically enhances the play’s intimacy and the psychological turmoil of its characters.

 

The play opens with Macbeth returning victorious from battle, having successfully led the Scottish forces to triumph over the Norwegians. Alongside his trusted companion, Banquo (Johnny Light), he stumbles upon the three witches (Maddie Somers, Elizabeth Brennan, Henny Walters) who greet them with chilling prophecies. They predict that Macbeth will first be named Thane of Cawdor and then ascend to the throne as King of Scotland. This supernatural encounter sets in motion a relentless and tragic spiral, as the prophecy fuels Macbeth’s insatiable ambition that is further stoked by his calculating and equally driven wife, Lady Macbeth, played with passion by Nicole Nabout.

 

Elston’s direction moves the production at a gripping pace, emphasising the urgency of Macbeth’s journey. His vision transforms the open-air stage into a foreboding and treacherous battlefield with a pervading atmosphere of tension and dread. The eerie backdrop of trees in the Royal Botanic Gardens, the fading natural light and Karla Ehrenbots’ grungy yet intricate costume designs all contribute to the haunting mood. The bleak, grey-toned set design reinforces the pervasive sense of doom. Violence and treachery seem inevitable.

 

Paul Norton’s music is both evocative and unsettling. The wailing of the wind, occasional piercing screams of bats flying overhead and even unexpected shrieks of passers-by outside the gardens all merge into an eerie, unpredictable soundscape, heightening the tension and amplifying the sense of impending doom and Macbeth’s inevitable tragic downfall.

 

Hugh Sexton and Nicole Nabout - MACBETH - Photo by Ben Fon

Sexton’s Macbeth shifts from a respected, courageous soldier to a murderous and paranoid ruler, and finally to a broken, tormented soul. His physical and psychological unravelling is both compelling and deeply tragic. Nabout complements him effectively, capturing Lady Macbeth’s ruthless ambition and, later, her profound psychological collapse with nuance and energy.

 

The supporting cast is uniformly strong, delivering performances that enhance the play’s dramatic weight. A standout moment is the climactic sword fight between Macbeth and Macduff (Jackson McGovern), choreographed with precision and energy by Scott Jackson. This confrontation, charged with fury and desperation, serves as a fittingly brutal climax to Macbeth’s ill-fated reign.

 

Through its bold direction, striking visuals, and commanding performances, this production of Macbeth breathes life into the timeless tragedy and is a testament to the power of Shakespeare’s text and of a well-judged outdoor performance.

 

By Kate Herbert

 

 

Cast

Hugh Sexton Macbeth

Nicole Nabout -Lady Macbeth

Maddie Somers-1st Witch

Elizabeth Brennan - 3rd Witch & Macduff's Wife

Henny Walters – Witch

Johnny Light - Banquo

Jackson McGovern -Macduff

Callum O’Malley - Donalbain & 1st Murderer

Dion Mills-Duncan & Doctor

 Anna Burgess – Malcolm

Kevin Hopkins - Lennox

Eleanor Timms - Macduff's daughter / Fleance

Claire Duncan -Messenger

Larissa Teale – Onstage Cover

Luke Lennox- Porter & 2nd Murderer

Alex Cooper- Ross

Tony Rive -Sergeant & Seyton

Scott Middleton -Young Siward

 

Creative Team

Glen Elston  Director

Paul Norton Musical Director

Costume Design | Karla Erenbots

Flight Choreographer | Scott Jackson

Production Manager | Peter Amesbury

Stage Manager | Sophie Walter

 

 

KATE HERBERT Arts Weekly Radio reviews 3MBS SAT 01 FEB 2025

In this radio spot on Sat 1 Feb 2025, the first for 2025, I talk with Nick Tolhurst about the musical, Dear Evan Hansen, and about 37, a play by Nathan Maynard performing at MTC until 22 Feb 2025. 

Nick talks briefly about Shirley Valentine with Natalie Basingthwaite at Athenaeum Theatre. Click link to hear audio only.

.

37 MTC REVIEW 31 Jan 2025 ****

THEATRE

by Nathan Maynard, by Melbourne Theatre Company

At Southbank Theatre until  22 Feb 2025

Reviewer: Kate Herbert

Stars:**** (4)

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 1 Feb 2025. KH

Tibian Wyles, Ngali Shaw  in 37-Photo Pia Johnson

Nathan Maynard’s 37 is a powerful and dynamic piece of theatre that dives into the intersections of sport, identity, and racism in contemporary Australia. Set against the backdrop of a struggling country football club, the play follows two young Indigenous men, Jayma (Ngali Shaw) and his cousin Sonny (Tibian Wyles), as they leave home to join a team that has not won a premiership in 25 years. The pair quickly establish themselves as talented and respected footballers, but their journey is marred by the casual and overt racism they encounter from some of their teammates.

 

The performances are captivating, particularly Shaw’s portrayal of Jayma, who exudes passion and charisma both on and off the field. His character is deeply influenced by AFL legend Adam Goodes, whose proud stance against racism serves as an inspiration for Jayma’s own fight. Wyles’ Sonny provides a contrast to Jayma’s intensity with his easy-going and humorous demeanour, but both characters share a deep sense of cultural pride and resilience.

 

The play doesn’t shy away from the ugly reality of racism in Australian sports culture. While some players, like team captain Joe (Ben O’Toole), show awareness and sensitivity, others indulge in racial slurs — some casually and carelessly, others with cruel intent. The locker room dynamic is a blend of camaraderie, aggression and toxic masculinity, captured through Maynard’s sharp and authentic dialogue. The language reflects the blokey, abrasive banter of footy culture, often walking a fine line between jest and outright bullying, while the male bonding and initiations rituals border on the abusive.

 

Syd Brisbane delivers a convincing performance as the grizzled coach, known as The General, whose relentless drive to win hints at personal stakes in the team’s long-awaited success. His character embodies the old-school, tough-love approach often seen in sports, adding another layer to the play’s exploration of masculinity and tradition.

 

Under the precise direction and choreography of Isaac Drandic, 37 becomes an electrifying theatrical experience. The production is intensely physical, with choreographed sequences that mirror the movements of Australian rules football. The actors are in near-constant motion, leaping, tackling, and mimicking the flow of a high-stakes match. This physicality heightens the tension, particularly in the climactic grand final scene where Jayma faces a life-altering decision: secure victory for his team or stand by his cultural identity.

 

While 37 may not break entirely new ground, it is a compelling and thought-provoking piece that challenges audiences to reflect on racism, identity, and the cost of winning. It is an exhilarating, hard-hitting work that lingers long after the final siren.

 

By Kate Herbert

Ngali Shaw & cast-Photo Pia Johnson

 

CAST

The General Syd Brisbane
Gorby Mitchell Brotz
Apples Samuel Buckley
Ant Costa D'Angelo
GJ Thomas Larkin
Woodsy Eddie Orton
Joe Ben O'Toole
Jayma Ngali Shaw
Dazza Anthony Standish
Sonny Tibian Wyles

 

CREATIVE TEAM

Director & Co-Choreographer Isaac Drandic
Set & Costume Designer Dale Ferguson
Lighting Designer Ben Hughes
Composer & Sound Designer James Henry
Co-Choreographer Waangenga Blanco
Voice & Text Coach Matt Furlani
Assistant Director Kamarra Bell-Wykes
Fight Choreographer Lyndall Grant
Intimacy Coordinator Isabella Vadiveloo