The Glass Menagerie REVIEW 1 May 2026 **** (4)

THEATRE

Written by Tennessee Williams
By Melbourne Theatre Company
At Southbank Theatre, The Sumner until 5 June 2026 (Geelong 11–13 June)
Reviewer: Kate Herbert
Stars: ★★★★ (4)

This review is published only on this blog. A radio version will air on Arts Weekly on 3MBS, Sat 2 May 2026.

Millie Donaldson, Alison Whyte and Tim Draxl. Photo_ Pia Johnson

Tennessee Williams’ The Glass Menagerie, which premiered on Broadway in 1945, draws deeply on the playwright’s own family history. Set in St Louis during the Depression-era 1930s, it unfolds in a cramped apartment that seems to hover between reality and recollection: a fire escape leads out to a harsher world of factories and cinema palaces, while inside, time stalls among faded photographs, worn furniture and the ghost of a gentleman long gone.

Director Mark Wilson handles this memory play with clarity and intelligence. The first half emphasises the comedy, eliciting generous laughs at the characters’ foibles and delusions. Gradually, though, the tone darkens, and by the second half, humour gives way to pathos, as dreams falter and fracture as easily as Laura’s delicate glass figures.

Tom Wingfield, who serves as both character and narrator, frames the story as both theatre and memory, a blurred reconstruction of a past he cannot quite escape. The outside world — industrial, noisy, urgent, unforgiving — presses in on the Wingfield household, but within, Amanda and Laura remain suspended in a more fragile, illusory realm.

Alison Whyte is electrifying as Amanda Wingfield, one of the great roles in the American theatrical canon. Her performance is masterly: every fluttering recollection, every manipulative aside, every brittle insistence on gentility is rendered with precision and emotional force.

Whyte captures Amanda’s fierce love and equally fierce denial, her longing for a vanished Southern girlhood of balls and beaux, and her simmering resentment towards the husband who abandoned the family 16 years earlier. It is a richly layered portrayal that anchors the production.

Tim Draxl brings a muscular volatility to Tom, the aspiring writer trapped in a warehouse job, his frustration simmering beneath a veneer of duty. Laura, played with less assurance by Millie Donaldson in her stage debut, is physically constrained by a leg brace, and emotionally by crippling shyness and retreats into a world of old gramophone records and her treasured glass animals.

However, in Wilson’s production, the menagerie remains unseen, save for a single unicorn, delicately handled in a key moment.

Harry McGee’s Jim O’Connor, the long-awaited “gentleman caller”, arrives with an easy charm that momentarily steadies the household, even as he unwittingly dismantles Amanda’s carefully constructed hopes for her daughter.

The design (Kat Chan, Matilda Woodroofe, Paul Lim) is understated and evocative, reinforcing the play’s memory-soaked atmosphere without overstatement.

This is not a radical reimagining, but a thoughtful, finely balanced production that is elevated by Whyte’s superb performance, which lingers long after the final, fading light.

Cast

Alison Whyte - Amanda Wingfield,

Tim Draxl  - Tom Wingfield

Millie Donaldson - Laura Wingfield

Jim O’Connor -Harry McGee

 

Creative Team

Mark Wilson (Director)

 Kat Chan (Set Designer),

 Matilda Woodroofe (Costume Designer)

Paul Lim (Lighting Designer),

Marco Cher (Composer & Sound Designer)

Geraldine Cook-Dafner (Voice & Dialect Coach)

Jamila Main (Assistant Director).

 

Julius Caesar–REVIEW–Bell Shakespeare, 24 April 2026 ***

THEATRE

Written by William Shakespeare, by Bell Shakespeare

At  Fairfax Studio, Arts Centre Melbourne until 10 May 2026

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. 2 May 2026. KH

 JuliusCaesar_Brigid Zengeni and Leon Ford_Photo Brett Boardman.

Bell Shakespeare’s Julius Caesar lands in Melbourne with a polished surface and an insistent sense of contemporary relevance, but beneath the sleek exterior, this is a production that struggles to locate the play’s moral and emotional centre.

Peter Evans’ direction opts for a fluid, modern setting—suggestive rather than specific—where political unrest simmers in an atmosphere of stylish unease. The design elements are undeniably arresting: sharply tailored costumes, an ominous soundscape, and bursts of violence that punctuate the action. Yet this visual confidence is not matched by interpretive clarity. The conceptual frame feels more like a gesture toward relevance than a fully realised argument, and as a result, the production’s political stakes remain frustratingly diffuse.

Brigid Zengeni’s Brutus, a character that might be considered the production’s anchor, is curiously opaque. While the verse is handled well, the internal conflict that should drive the character — Brutus's tortured justification of betrayal — rarely lands with sufficient weight. Zengeni’s performance feels controlled rather than compelled, leaving Brutus’ moral dilemma too easily resolved. Evans’ casting a woman as Brutus has promise, but the character’s gender change assumes more importance and focus than Brutus’s internal struggle.

Leon Ford as Cassius is a highlight, bringing a watchful intelligence, stillness and power to this character who some Romans consider to be too clever and too intellectual. Cassius slowly and subtly manoeuvres Brutus and several others into the conspiracy to assassinate Caesar, who has become a despot and sees himself as a God.

However, the dynamic between Cassius and Brutus never quite ignites. Their conspiracy lacks the dangerous urgency that should propel the first half of the play.

As Caesar, Septimus Caton emphasises the character’s bombast and arrogance that borders on caricature. While this underscores the character’s hubris, it also diminishes the impact of his assassination; the fall of this Caesar feels less like a seismic political rupture and more like an inevitability.

Mark Leonard Winter’s Mark Antony, too, proves uneven. His transformation from sidelined observer to political operator is sketched rather than developed, and the rhetorical power of the famous funeral oration  — so often the play’s electrifying centrepiece — is diluted by self-conscious delivery.

The ensemble, in general, works cohesively, though they are not always well served by the production’s wavering tone, which veers between high-stakes tragedy and a kind of ironic detachment.

There is, certainly, an attempt to connect Shakespeare’s exploration of power and populism to a contemporary moment. But without a firmer interpretive grip, the production’s relevance remains more asserted than earned.

That tonal inconsistency is the production’s central issue. Evans repeatedly undercuts tension with stylistic choices that undervalues the text. The result is a Julius Caesar that feels conceptually busy but dramatically undernourished.

BY KATE HERBERT

 

Melbourne Cast

Brigid Zengeni – Brutus

Mark Leonard ­Winter – Mark Antony

Septimus Caton – Julius Caesar

Leon Ford – Cassius

Gareth Reeves – Casca

Ray Chong Nee ­­– Metellus

James Lugton – Decius

 Ava Madon – Calpurnia

Jules Billington – ­ Portia

Ruby Maishman – Cinna

 

Creative Team

Director – Peter Evans

Lighting Designer– Amelia Lever-Davidson

Costume Designer – Simon Romaniuk

Composer & Sound Designer – Madeleine Piccard

Fight & Movement Director – Tim Dashwood

Voice Director – Jack Starkey-GIll

 

ART–REVIEW –23 April 2026 ****

THEATRE

Written by Yasmina Reza
At Comedy Theatre until 17 May 2026
Reviewer: Kate Herbert
Stars: ★★★★ (4)

This review is published only on this blog. A radio review will air on Arts Weekly on 3MBS on Sat 2 May 2026. KH

Damon Herriman, Richard Roxburgh & Toby Schmitz-Photo Brett Boardman

Art remains a deliciously barbed dissection of male friendship, taste and the fragile scaffolding of shared values. Yasmina Reza’s script, in Christopher Hampton’s deft translation, still cuts cleanly, its irony intact, its arguments spiralling with surgical precision.

The premise is deceptively simple: a painting — white, expensive, and, to some eyes, absurd — becomes the fault line along which a long-standing friendship fractures. But this is no mere comedy of manners. Reza spins a sticky, hilarious web of intellectual one-upmanship, insecurity and barely suppressed rage. The men spar, spit and circle one another, their certainties dissolving as quickly as they are asserted.

Damon Herriman’s Serge is all cool hauteur and quiet provocation, a man intoxicated by his own cultural authority. Herriman lets the character’s smugness bloom just enough to invite attack. Opposite him, Richard Roxburgh’s Marc is gloriously combative — pompous, rigid and increasingly unhinged. Roxburgh finds both the humour and the menace in Marc’s outrage, revealing a man terrified that the rules he lives by are no longer shared. 

Between them, Toby Schmitz’s Yvan is the perfect, flailing buffer — anxious, ingratiating, and quietly despairing. Schmitz brings a nervy physicality and comic timing that makes Yvan’s desperate attempts at conciliation both absurd and oddly moving. 

Under Lee Lewis’s brisk direction, the production embraces the volatility of these fracturing relationships. Alliances shift with dizzying speed; each man is, in turn, isolated, victimised and exposed. The downward trajectory of their affection feels both inevitable and shocking.

The design supports this precision. Charles Davis’s spare, elegant set is itself a kind of blank canvas, allowing the actors’ emotional chaos to supply the colour. Paul Jackson’s lighting adds a cool, formal sheen with stylish lamps and sculpted light that quietly echo the play’s preoccupation with aesthetics and perception. 

It is still extraordinary that a play about people arguing over art can be so riveting. Reza skewers critical theory, satirises the art world and, more pointedly, exposes how precariously friendship rests on presumed common ground. A tiny shift in taste becomes a seismic rupture. 

Funny, fierce and uncomfortably recognisable, this Art proves that the smallest differences can have the largest consequences.

By Kate Herbert

Cast
Marc – Richard Roxburgh
Serge – Damon Herriman
Yvan – Toby Schmitz

Creative Team
Director – Lee Lewis
Lighting Design – Paul Jackson
Set & Costume Design – Charles Davis
Original Music – Max Lambert

 

 

 

 

RADIO REVIEW Arts Weekly 3MBS Sat 4 April 2026

ArtsWeekly4April2026

In this very short radio review spot on Arts Weekly on Saturday 4 April 2026, I talk to Nick Tolhurst about Ageing: Results May Vary, a very funny Melbourne Comedy Festival show by Geoff Paine & Ross Daniels and mention, briefly, the Com Fest launch on April 16 of Rod Quantock: Comedy Warrior.  3min15

Click link above. 

Ageing: Results May Vary–COMEDY REVIEW – 2 April 2026 **** (4)

COMEDY FESTIVAL

Written & performed by Geoff Paine & Ross Daniels

At  Bard's Apothecary, Crossley Place, Melbourne, until Sat 4 April 2026. 6.45pm

Melbourne Comedy Festival 2026

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 4 April 2026. KH

Ross Daniels & Geoff Paine

Ross Daniels and Geoff Paine are two very funny, highly skilled performers. Now well past Seniors’ Card eligibility, they furiously plunder their own lives for material about ageing —and strike comedy gold.

 

The audience resembles an MTC matinee: a sea of greying heads nodding in recognition. Almost every gag lands, drawing hearty, knowing laughter from a predominantly over-55 crowd.

 

A brisk audience poll confirms Boomers (Yay, team!) and Gen X are firmly in charge, with only a smattering of younger attendees bravely holding their ground.

 

NB: No Gen Alphas were harmed in the making of this show. (If you don’t know, they’re babies!)

 

For 55 minutes, Paine and Daniels catalogue the indignities of ageing: statins, fish oil, calcium levels, prostate woes, and the twin betrayals of hair and memory loss. You can recall your childhood phone number — but not the name of that actor in that thing. You know — the one with the hair.

 

There’s a cheeky visit from the Grim Reaper, offering ominous (and darkly funny) reminders of what’s to come.

 

A running memory test — three words to retain until the end — has the audience muttering to themselves like exam candidates. Just in case.

 

There’s some deliberately daffy dancing, including a Nutbush with a game audience member, plus original songs about ageing and a cleverly titled Oasis medley that’s best left unspoiled.

 

It’s a short run, but the show deserves a longer life — or at least regular bookings at retirement villages. They could repeat it weekly; parts of the audience might find it fresh each time. Wicked.

 

This is sharply observed, warmly delivered identification comedy for older audiences. Flash your Seniors’ Card for a concession — and take the train while you’re at it. No MYKI fare required ‘cos PT is free for April.

 

Cast
Geoff Paine & Ross Daniels

Creative Team
Lighting & Sound Operator and walk-on performer: Matt …? (Forget his surname!) Ah! Campbell!

KATE HERBERT -RADIO REVIEWS -ARTS WEEKLY-3MBS SAT- 21MARCH-2026

 Kate Radio reviews 21Mar2026

 

 

   

In this radio review spot on Arts Weekly on Saturday 21 March 2026, I talk to Nick Tolhurst about Little Absences by Grazia Marin, and about Maureen Hartley’s Life Achievement Award at Victorian Green Room Awards 2026.

 It's about 7-8 mins.

Little Absences REVIEW 19 March 2026 **1/2

THEATRE

Written by Grazia Marin

At Chapel off Chapel until Sat 21 March at 2pm & 7.30pm

Reviewer: Kate Herbert

Stars: **1/2 (2.5)

This review is  published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 21 March, 2026. KH

L-R: Piera Dennerstein,  Janet Watson Kruse-Image by Bernard Peasley

The premise and intention of Grazia Marin’s play, Little Absences, has great potential for a short play with a small cast, and some elements of this first season are successful. In an ageing population, many of us are faced with the declining health of parents and grandparents. It is a confronting and challenging experience.

Chris (Janet Watson Kruse) is an older woman suffering escalating dementia, but fiercely denying the increasing problems she has coping with living independently and alone. She struggles with basic tasks such as feeding and washing herself, keeping her house clean and the fridge stocked. However, she does manage to keep a secret stash of alcohol that she hides from her attentive, worried daughter, Jenny (Piera Dennerstein).

 

Chris has another precious secret that she keeps hidden even from her daughter: as a young woman she had some success as an emerging writer, particularly of poetry. In her demented state, she craves the creativity of the written word but wrestles with memory, language and the capacity to frame and retain an idea. It is heart-breaking to watch her struggling to retrieve that creative state – perhaps almost as distressing as watching her struggle with her alcohol abuse and inability to do the most basic activities.

 

Kruse is committed and immersed in this fraught but determined character, capturing her frustration and intermittent confusion. Dennerstein embodies the despair and concern of the daughter who respects her mother‘s wishes to be left alone but knows that her intervention is inevitable. An unexpected visitor, Alex (Veronicka Devlin), a young writer who crashed her motorbike nearby, provides some perspective and triggers Chris’s memories of her own writing.

 

This production, directed by Elnaz Sheshgelani, runs two hours with interval, but needs some vigorous and astute editing to reduce it to perhaps 70 minutes. The dialogue is unnecessarily repetitive, there are some logical inconsistencies, and the structure needs some reshaping.

 

The play lacks dramatic conflict and has limited dramatic tension and dramatic action. Most of the action is described rather than being “Now“ action. It needs more compelling revelations and stronger turning points in the narrative. All these issues make the play more like an extended monologue interspersed with some character interactions.

 

The daughter and the visitor’s roles could serve the action better, but perhaps more interesting would be having an actor to play various roles from Chris‘s past: her husband Frank and Eduardo, the exotic lover from her youthful sojourn as a writer in Spain. This actor could also play the visitor.

 

It is  clear that Chris didn’t like her husband Frank, so it is surprising that she chooses to use him as her invisible confidant. It might be more interesting to see her savaging him in her memory with a real actor playing the character.

 

A flashback to the sensuality of her youth with Eduardo might add an interesting scene. The memories and dreams are captured only by a few slides, scenes of locations and characters and this could provide a visual background to other scenes, rather than being a distraction or interruption.

 

The fact that Chris was a successful writer when she was young, is insufficient. Perhaps there could be clear revelations about Frank’s extramarital affair and dysfunctional marriage.

 

Here’s another idea: Jenny’s song, based on Chris’s poem, Little Absences, could begin the play and punctuate it until we become aware, at the end, that it is a eulogy. This might give the piece a dramatic shape and a clear structure. The daughter could then become a kind of narrator, thus avoiding Chris having to constantly explain to us what she’s experiencing as a dementing, but determinedly independent woman.

 

However, much of the latter part of my review is dramaturgy, and my role here is to be reviewer and critic. There’s certainly potential in Little Absences but, at this stage, neither the script nor the production have fulfilled that potential.

By Kate Herbert

 

Cast

Chris - Janet Watson Kruse

Alex - Veronicka Devlin

Jenny - Piera Dennerstein

Creative Team

Writer - Grazia Marin

Director - Elnaz Sheshgelani

RADIO REVIEW Arts Weekly 3MBS Sat 7 Mar 2026 - La Mama Theatre’s program 2026

      

KATE HERBERT-3MBS-SAT-07-MARCH-2026  

In this radio review spot on Arts Weekly on Saturday 7 March 2026, I talk to Nick Tolhurst and Phillipa Edwards about La Mama Theatre’s new program of theatre events and I talk briefly about Moongazing that I saw On Demand (on screen).

Click the link nelow to listen. Its about 7 mins. 

 https://youtu.be/mfjmECA4iYc

La Mama Program 2026

Program 2026 Summary

La Mama Program 2026

Currently playing:

Back to Te Maunga -Courthouse

Some Secret Should Be Kept -La Mama HQ

Moongazing & Saints -On Demand

 

1.    La Mama Presents: Feb, March, April, May

Productions: 1 month block, 2 shows per month -one show at La Mama & Courthouse,

Education (March & May) selected productions)

On Demand  season to follow all 8 shows (Feb – May)

Support: Robert Salzer Foundation.

 

2.    Play: Scratch, Explorations, Immerse: June, July, Aug

Scratch- a live platform for performance makers to test new ideas in front of peers and community

Support:  Cybec Foundation

Explorations- Artists are given three nights of public presentation (both venues)

Immerse - deeply focused 12-week practice-led program for 16 mid-career writers

Support:  Cybec Foundation, John T Reid Trusts, and the City of Melbourne Multi-year Arts Grants Program in partnership with Arts Centre Melbourne and Regional Arts Victoria.

 

Partnerships:

 

3.    Hope Punk Climate Festival: 1-20 Sept (TBC.)

storytelling and skills development in climate advocacy and action,

Support: in partnership with Learning Experiences Program Science Gallery Melbourne and Griffith University's Performance Ecology Research Lab (P+ERL)

 

4.    Melbourne Festival of Puppetry: 21-27 Sept

Support: City of Melbourne and Arts Centre Melbourne.

 

5.    Melbourne Fringe Festival at La Mama

October

 

6.    Cultural Conservation in Action: November: First Nations-led month. Directed by Glenn Shea.Conservation of our First Nation's story, songs and dances

 

7.    Faradays:  December

Party month: music, poetry, cabaret

A Carlton takeover

Support: Local Business Partnerships.

Moongazing (Online) REVIEW 4 March 2026 *** (3)

THEATRE ONLINE

Written by Maki Morita

At La Mama Theatre, La Mama On Demand until Tues 10 March 12.00am (Stage season finished 1 March)

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 7 March 2026. KH

Anna Fujihara image Darren Gill

Moongazing, written by Maki Morita and directed by Ari Angkasa, is elusive, visually striking and more felt than understood. It drifts between waking life and digital dreamscape, exploring what guidance means in an age of disembodied voices.

 

A young Japanese-Australian woman (Anna Fujihara) is tethered to her online adviser (Sean Yuen Halley), a kind of Siri-of-the-future; a sleek, insinuating presence that offers affirmation, correction and algorithmic comfort. Fujihara, as the young woman, is tightly coiled, perpetually mid-scroll, her body pitched forward over her phone. Her performance is considered, albeit too evenly pace and emotionally muted, with the character’s interior life more suggested than fully revealed. Halley’s digital oracle’s calm cadences  are faintly menacing and tinged with control.

 

Hovering at the edges of the woman’s flickering world is a mysterious woman older than the hills (Yumi Umiumare), a dreamlike mentor who may be ancestral memory, alter ego or moon spirit.  

 

Umiumare’s stylised Butoh movement is slow, sinewy and exquisitely controlled and provides the production’s beating heart. Each gesture unfurls with ritual deliberation: a hand tremors, a spine curves, a foot roots to the earth. Umiumare doesn’t so much enter a scene, as seep into it. Her presence feels elemental, in contrast to the slick, oily digital patter.

 

Yumi Umiumare - image Darren Gill

The design is spare is shaped by evocative lighting that bathes the stage in lunar washes and pockets of shadow that breathe with the performers. Pale light halos Umiumare’s white-painted form, while cooler, sharper tones delineate the technological realm, subtly reinforcing the play’s thematic divide.

 

Angkasa’s direction emphasises this visual and physical quality, although the dramaturgy occasionally wanders, the pace and rhythm lack variation and scenes accumulate, rather than building dramatic tension or action. Its central metaphor resonates: the moon as guide, algorithm as false prophet. Certain images in this production linger: a body folding and unfolding like a tide, a pale face lit by an unforgiving light. It is a meditation rather than a manifesto.

 

By Kate Herbert

 

Cast
Anna Fujihara
Yumi Umiumare
Sean Yuen Halley

 

Creative Team
Writer: Maki Morita
Director: Ari Angkasa

 

Yumi Umiumare - image by _Darren_Gill

KATE HERBERT -RADIO REVIEWS Arts Weekly- 3MBS SAT-21-FEB-2026

  

 

In this radio review spot on Arts Weekly on Saturday 21 Feb 2026, I talk to Nick Tolhurst and Phillipa Edwards about two productions: Cluedo at Comedy Theatre and The Book of Mormon that returns to the Princess Theatre, Melbourne.

 

Kate Herbert Radio Reviews Arts Weekly 21 Feb 2026

The Book of Mormon REVIEW 12 Feb 2026 ***** (5)

MUSICAL THEATRE

Book, Music & Lyrics by Trey Parker, Robert Lopez & Matt Stone

At Princess Theatre until 31 May 2026

Reviewer: Kate Herbert

Stars: ***** (5)

This review is  published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 21 Feb 2026. KH

Nick Cox, Sean Johnston, The-Book-of-Mormon_credit_Daniel-Boud

 

The Book of Mormon is a wickedly hilarious, irreverent, scandalous and shocking musical that is South Park on steroids. This is a gleeful assault on organised religion – more specifically, Mormonism and its peculiar history, religious text, missionary practices, cultural colonisation and – well – everything, really.

 

On the stage, the chorus of white-shirted Mormons is relentlessly grinning, terminally perky and super-camp! From the first brazen door knock in the song, Hello!, The Book of Mormon announces its missionary zeal — and this razor-sharp Australian cast answers with blistering comic precision and vocal confidence.

 

Created by Trey Parker, Matt Stone and Robert Lopez, this award-winning juggernaut remains as outrageously transgressive as ever and this Australian production is polished to a high sheen. The ensemble is a single, sharply pressed organism; every raised eyebrow, every snappy turn and door-slam is performed with military / missionary precision.

 

The pairing of the stitched up Elder Price (Sean Johnston) and goofy, incompetent Elder Cunningham (Nick Cox) provides stark comic contrast. Johnston’s clarion tenor soars with self-regarding confidence in I Believe, and he balances arrogance with boyish conviction. Cox, by contrast, makes Cunningham’s shambling doctrinal improvisations feel dangerously spontaneous. Cox’s elastic physicality and beautifully judged hesitation turn absurdity into an art form. Their chemistry drives the evening with polished certainty colliding with chaotic invention.

 

Paris Leveque  brings luminous warmth, disarming sincerity and unaffected grace as Nabulungi. As Mafala Hatimbi, Simbarashe Matshe balances dignified authority with dry humour, anchoring the African village scenes with welcome gravity. As Elder McKinley, Tom Struik delivers Turn It Off with bright-eyed repression and tap-dancing precision, and his crisp movement and honeyed tone transform denial into high camp bliss. The audacious ensemble number, Sal Tlay Ka Siti, sung by the African villagers, wickedly and hilariously challenges God’s mercilessness.

 

Casey Nicholaw’s choreography is deliciously ironic Broadway razzmatazz knowingly deployed for subversive ends and the co-directors, Parker and Nicholaw, put the foot firmly on the accelerator in the production. The pastel optimism of the design combined with those wide smiles and wholesome Americana, makes the show’s detonations of profanity and pageantry even more naughtily delectable.

 

More than a decade on, the satire still bites. Yet beneath the profanity and pyrotechnics is incisive socio-political commentary and a generous heart. Melbourne roared its approval. This five-star return season proves that outrageous comedy, when executed with this level of craft, still feels thrillingly alive.

By Kate Herbert

Cast, The-Book-of-Mormon_credit_Daniel-Boud

Cast

Sean Johnston -Elder Price

 Nick Cox - Elder Cunningham

 Paris Leveque -Nabulungi

Tom Struik - Elder McKinley

Simbarashe Matshe -Mafala Hatimbi

 Augie Tchantcho - The General

 Matthew Hamilton- Mission President

Creative Team

Book, Music & Lyrics  -Trey Parker, Robert Lopez & Matt Stone

Co-director - Trey Parker

Co-director and choreographer - Casey Nicholaw

Set design -Scott Pask,

Costume design -Ann Roth

Lighting design - Brian MacDevitt

Sound design -  Brian Ronan.

Orchestrations -Larry Hochman & Stephen Oremus.

Music direction and vocal arrangements - Stephen Oremus

Cast, The-Book-of-Mormon_credit_Daniel-Boud

Song List
   

 Act I

1. Hello!
Elder Price, Elder Cunningham, Company

2. Two by Two
Elder Price, Elder Cunningham, Mission President, Company

3. You and Me (But Mostly Me)
Elder Price, Elder Cunningham

4. Hasa Diga Eebowai
Mafala Hatimbi, Nabulungi, Ugandan Villagers

5. Turn It Off
Elder McKinley, Elder Price, Elders

6. I Am Here for You
Elder Price, Elder Cunningham

7. All-American Prophet
Elder Price, Joseph Smith, Angel Moroni, Company

8. Sal Tlay Ka Siti
Nabulungi

9. Man Up
Elder Price, Elder Cunningham, Nabulungi, Company


 

Act II

10. Making Things Up Again
Elder Cunningham

11. Spooky Mormon Hell Dream
Elder Price, Lucifer, Hitler, Jeffrey Dahmer, Johnnie Cochran, Genghis Khan, Company

12. I Believe
Elder Price

13. Baptize Me
Nabulungi, Elder Cunningham

14. I Am Africa
Elder McKinley, Mission President, Elders

15. Joseph Smith American Moses
Elder Cunningham, Nabulungi, Company


Tomorrow Is a Latter Day
Elder Price, Elder Cunningham, Nabulungi, Company