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

 

 

 

Dear Evan Hansen REVIEW 31 Jan 2025 ****

THEATRE

Sydney Theatre Company & Michael Cassell

Book by Steven Levenson  Music and lyrics by Benj Pasek & Justin Paul

At  Playhouse, Arts Centre Melbourne uni 16 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

NB:  Canberra and Adelaide seasons are cancelled due to poor ticket sales.

Verity Hunt- Ballard, Beau Woodbridge–Dear Evan Hansen_credit_Daniel Boud

 

Dear Evan Hansen is a dynamic and emotionally charged musical that tackles themes of mental illness, social anxiety, and the impact of social media in the modern world. Since its debut, the show has captivated audiences worldwide, earning both critical acclaim and controversy for its handling of serious topics such as depression and suicide. The Melbourne production brings these themes to life with a talented cast and powerful performances, though the moral complexities of the story remain thought-provoking.

 

At the heart of the musical is Evan Hansen ( Beau Woodbridge), a socially anxious high school student whose therapist advises him to write daily affirmations in the form of letters to himself. A chance encounter with the troubled school outcast, Connor Murphy (Harry Targett), sets off a chain of events that drastically changes Evan’s life. After Connor takes his own life, his grieving family discovers one of Evan’s letters, mistakenly believing that the two boys were close friends. Instead of correcting their misconception, Evan finds himself trapped in an ever-growing web of lies, aided by his mischievous cousin, who helps fabricate an email trail to support the false narrative.

 

What begins as an awkward misunderstanding soon spirals into a social media phenomenon. Evan becomes a symbol of hope and resilience, his fabricated friendship with Connor inspiring an entire movement. As he is embraced by Connor’s parents and develops a romantic relationship with Connor’s sister, Zoe (Georgia Laga’aia), Evan experiences a newfound sense of belonging and confidence—an ironic twist given the foundation of deception on which his success is built.

 

The cast delivers standout performances, with Beau Woodbridge taking on the demanding role of Evan. His vocal strength and stage presence make his portrayal both compelling and convincing. He expertly transitions from the timid, anxious teenager to an outwardly confident young man, even as the audience remains acutely aware of the emotional turmoil lurking beneath the surface. Verity Hunt-Ballard as Evan’s mother, Heidi Hansen, is a standout, her warm vocal tone and heartfelt performance adding depth to the production.

 

Despite its emotional depth and poignant themes, Dear Evan Hansen leaves audiences with a moral dilemma. The story seemingly justifies Evan’s lies, as he faces minimal consequences for his deception. While he ultimately confesses, the repercussions are muted, and his life continues to flourish. This ethical ambiguity has sparked debate among audiences and critics alike, raising questions about accountability, redemption, and the power of social media to shape narratives.

 

This production of Dear Evan Hansen is a moving and thought-provoking experience, boasting strong performances, an evocative score, and a contemporary story that resonates with modern audiences. However, its portrayal of morality and truth may leave some viewers with lingering unease.

 

By Kate Herbert

Harry Targett on screen & cast-Dear Evan Hansen_credit_Daniel Boud

Cast

Beau Woodbridge as Evan Hansen

Verity Hunt-Ballard as Heidi Hansen

Harry Targett as Connor Murphy

Martin Crewes as Larry Murphy

Georgia Laga’aia as Zoe Murphy

Natalie O’Donnell as Cynthia Murphy

Carmel Rodrigues as Alana Beck

Jacob Rozarioas Jared Kleinman

KATE HERBERT Arts Weekly3MBS-Sat7 Dec 2024

Click here: to listen: KATE HERBERT Arts Weekly3MBS-Sat7 Dec 2024

In this, my final radio review spot on 3MBS Arts Weekly for 2024, I talk with Phillipa Edwards and Nick Tolhurst about Mathew Warchus’s production of A Christmas Carol with Erik Thompson as Scrooge. 

 

Then, I talk about highlights of 2024 theatre, upcoming summer shows and ways to view theatre online via ATL and National Theatre at Home.

 

 

A Christmas Carol, 29 Nov 2024 ***** (5)

THEATRE

A Christmas Carol, version by Jack Thorne, conceived by Matthew Warchus from Charles Dickens’s novel

An Old Vic production.

At Comedy Theatre Melbourne until January 2025.

Reviewer: Kate Herbert.

Stars: ***** (5).

I reviewed the 2024 production on Arts Weekly on Sat 7 Dec 2024.

 

 2024 A Christmas Carol_Erik Thomson, Ensemble_c EugeneHyland

Matthew Warchus’s exhilarating production of A Christmas Carol, adapted by Jack Thorne from Dickens’ ripping yarn, is a very Christmassy feast of carols, choral harmonies, mass bell ringing, snow, faith, hope and charity and even a veritable feast of fruits, vegetables, meat platters, puddings and breads all sliding down from the balcony along draped sheets to the stage and into wicker baskets. Yes, real food – mostly.

 

The pre-show musical entertainment includes actors dispensing mince pies and mandarins to audience members who wave furiously at actors to get their hands on the Chrissy nosh.

 

Thorne’s version of Dickens’ story extracts crucial moments, takes licence with some dialogue, and omits some characters and scenes because, let’s face it, Dickens’ book would take many hours to perform in full.

 

The centre of this morality tale is Ebenezer Scrooge, played by Australian actor, Erik Thomson (known for his role in TV series, Packed to the Rafters) who manages to take Scrooge from crotchety to childlike joy by the end of the show.

 

Scrooge is a miserly old moneylender who thinks Christmas is ‘humbug’ (he says the word only once in this show) and who underpays and makes unreasonable demands on his dutiful, hard-working office clerk, Bob Cratchit (Tim Wright) who lives in poverty with his wife and many children, including Tiny Tim (played adorably by Mira Feldman on opening night). Scrooge reviles the carol singers at his door and dismisses his genial nephew, Fred (Kaya Byrne). He suspects everyone wants to steal his money.

 

Thomson is irritable and curmudgeonly as Scrooge when we see him in his money lender’s domain, surrounded by his multitude of cash boxes that he stashes in his secret hiding places. After meeting his Christmases Past, Present and Future, and learning a little of life and humanity and, dare we say, love, he shifts to a surprisingly cheery disposition and seems suprised at his own levity. This extreme change triggers the ensuing, truly joyous Christmas celebration and feast the Cratchits’ home.

 

There will inevitably be comparisons with the previous two Scrooges from 2022 and 2023: Owen Teale’s extraordinary Scrooge (2023) began as ferocious and misanthropic, then shifted 180° to vulnerable, charitable and astonished at his own change. David Wenham (2022) played Scrooge differently, starting almost folded in upon himself like a creeping spider, then slowly unfolding as he looked outward to view with love, the world and the people surrounding him.

 

The supporting cast is outstanding, with Alison Whyte as the wry, pert, Scottish-accented Christmas Past, and Samantha Morley as the critical, chivvying Christmas Present. The entire cast takes the role of Christmas Future – a group of black-clad, veiled ghostly figures – while Scrooge’s late sister, Little Fann (Aisha Aidara) escorts Scrooge to view his own, desperately lonely funeral at which he learns his lesson of love and kinship.

 

Anthony Cogin is compelling as the ghostly Jacob Marley, whose singing skill surprises Scrooge, Grant Piro’s Fezziwig is playful and naïve, while Sarah Morrison is warm and composed as Belle, Scrooge’s early love.

 

We marvel like children at Rob Howell’s gloriously atmospheric set design of tumbled lanterns and drop lights, falling snow, Scrooge’s money boxes and secret compartments in the stage floor, and Hugh Vanstone‘s evocative, often spooky, sometimes festive lighting. The music, composed by Christopher Nightingale, is an imaginative collision of Christmas carols, a capella harmonies, inspired bell ringing and haunting soundscape, played by a live band perched in a balcony box and musicians who are on stage.

 

A Christmas Carol, with its dancing, singing, snacks, tears and laughter, is a delicious Christmas tonic that reminds us of those who struggle to make ends meet. In London and here, money is collected and donated by the show to charities for the poor.

 

By: Kate Herbert.

2024 A Christmas Carol_Erik Thomson, Alison Whyte_c EugeneHyland

 

CAST

Ebenezer Scrooge – Erik Thomson

Felix Str -Young Ebenezer (also cello)

Tim Wright - Bob Cratchit

Anthony Cogin - Father / Marley

Kaya Byrne - Fred

Stephanie Lambourn - Mrs Cratchit  (Mandolin)

Alison Whyte - Ghost of Christmas Past

Samantha Morley -  Ghost of Christmas Present

Aisha Aidara - Little Fan

Sarah Morrison - Belle

Grant Piro -  Fezziwig

Cameron Taylor - Nicholas

Benjamin Colley -George (Accordion/tin whistle)

Kaori Maeda-Judge – Jess

Tiny Tim - On opening night Tiny Tim played by Mira Friedman, and other nights, by Wynton Inman, Noah Sherburn, Libby Sega.

 

2024 A Christmas Carol_Samantha Morley, Erik Thomson_c EugeneHyland

 

 

CREATIVE TEAM

Jack Thorne - Adaptation

Matthew Warchus - Director

Rob Howell - Set & Costume

Christopher Nightingale - Composer & Arranger

Peter Rutherford - Australian Musical Director

Hugh Vanstone - Lighting

Simon Baker - Sound

Lizzi Gee – Movement

Simon Baker – Sound

Campbell Young Assoc- Hair, wigs, make-up

 

BAND
Natasha Fearnside – Reed

Lisa Reynolds – Violin

Lauren Jennings – Cello

 

mmm

 

RE_POST of 2023 REVIEW of A Christmas Carol***** (5) NB 2023

THEATRE (2023 production

A version by Jack Thorne, conceived by Matthew Warchus from Charles Dickens novel

An Old Vic production

At Comedy Theatre Melbourne until 7 Jan 2023

Reviewer: Kate Herbert

Stars: ***** (5)

I reviewed the 2024 production on Arts Weekly on Sat 7 Dec 2024. See next post. 

I'll post a 2024 review of Erik Thompson as Scrooge soon. KH

A CHRISTMAS CAROL 2023_c Jeff Busby

 

 

 

Matthew Warchus’s exhilarating production of A Christmas Carol, adapted by Jack Thorne from Dickens’ ripping yarn, is a very Christmassy feast of carols, choral harmonies, mass bell ringing, snow, faith, hope and charity and even a veritable feast of fruits, vegetables, meat platters, puddings and breads all sliding down from the balcony along draped sheets to the stage and into wicker baskets. Yes, real food – mostly.

 

The pre-show musical entertainment includes actors dispensing mince pies and mandarins to audience members who wave furiously at actors to get their hands on the Chrissy nosh.

 

Thorne’s version of Dickens’ story extracts crucial moments, takes licence with some dialogue, and omits some characters and scenes because, let’s face it, Dickens’ book would take many hours to perform in full.

 

The centre of this morality tale is Ebenezer Scrooge, played by virtuoso UK actor, Owen Teale, who manages to take Scrooge from ferocious to vulnerable by the end of the show. Scrooge is a miserly old moneylender who thinks Christmas is ‘humbug’ (He says the word only once in this show.) and who underpays and makes unreasonable demands on his dutiful, hard-working office clerk, Bob Cratchit (Bernard Curry) who lives in poverty with his wife and many children including Tiny Tim (played adorably by Mira Feldman on opening night). Scrooge reviles the carol singers at his door and dismisses his genial nephew, Fred (Andrew Coshan). He suspects everyone wants to steal his money.

 

Teale’s performance is rich, nuanced and passionate but feels effortless and natural, as if he isn’t acting at all, while his warm, honey-toned voice soothes and charms, even when Scrooge is being mightily mean. Teale’s transformation from this stone-hearted old grump into joyful, bouncing, childlike benefactor is swift but credible, and his 180-degree change triggers the truly joyous Christmas celebration and feast that follows at the Cratchit’s home.

 

The supporting cast is outstanding with Debra Lawrance as the wry, pert, elderly Christmas Past, and Samantha Morley as the critical, chivvying Christmas Present. The entire cast takes the role of Christmas Future – a group of black-clad veiled ghostly figures – while Scrooge’s late sister, Little Fann (Aisha Aidara) takes Scrooge to view his own, desperately lonely funeral at which he learns his lesson of love and kinship.

 

Anthony Harkin is compelling as Jacob Marley and his warm, velvety baritone is welcome in the final song, Grant Piro’s Fezziwig is playful and naïve, while Sarah Morrison is warm and composed as Belle, Scrooge’s past love.

 

We marvel like children at Rob Howell’s gloriously atmospheric set design of tumbled lanterns and drop lights, falling snow, Scrooge’s money boxes and secret compartments in the stage floor, and Hugh Vanstone‘a evocative, often spooky, sometimes festive lighting. The music, composed by Christopher Nightingale, is an imaginative collision of Christmas carols, a capella harmonies, inspired bell ringing and haunting soundscape, played by a live band perched in a balcony box and musicians who are on stage.

 

A Christmas Carol, with its dancing, singing, snacks, tears and laughter, is a delicious Christmas tonic that reminds us of those who struggle to make ends meet. In London and here, money is collected and donated by the show to charities for the poor. Teale speaks with warmth about donations to FairShare and there are collection boxes at the doors.

 

by Kate Herbert

Owen Teale & cast CHRISTMAS CAROL 2023_c Jeff Busby

CAST

Ebenezer Scrooge - Owen Teale

Cameron Bajraktarevic-Hayward -Young Ebenezer (also cello/double bass)

Bernard Curry - Bob Cratchit

Anthony Harkin - Father / Marley

Andrew Coshan - Fred

Stephanie Lambourn - Mrs Cratchit  (Mandolin)

Debra Lawrance - Ghost of Christmas Past

Samantha Morley -  Ghost of Christmas Present

Aisha Aidara - Little Fan

 Sarah Morrison - Belle

 Grant Piro -  Fezzwig

Kaya Byrne - Nicholas

Benjamin Colley -George (Accordion/tin whistle)

Deirdre Khoo – Jess

Tiny Tim -  On opening night Tiny Tim played by Mira Friedman; Alexis Abela, Sasha Hampson, Evie Rose Hennessy, Libby Segal 

 

 

CREATIVE TEAM

Jack Thorne -   Adaptation

Matthew Warchus - Director

Rob Howell - Set & Costume

Christopher Nightingale - Composer & Arranger

Peter Rutherford - Australian Musical Director

Hugh Vanstone  -Lighting

Simon Baker - Sound

Lizzi Gee – Movement

Simon Baker – Sound

Campbell Young Assoc- Hair, wigs, make-up

 

BAND
Natasha Fearnside – Reed

Lisa Reynolds – Violin

Kalina Krusteva – Cello

 

Zaffé 26-30 Nov 2023 – Re-post of 2023 REVIEW ***

Zaffé Runs Tue 26 – Sat 30 Nov 2024 at Arts House North Melbourne 
Tue – Sat, 8.30pm  

THEATRE

Conceived & directed by Stéphanie Ghajar

Melbourne Fringe Festival

At The Tower, Malthouse, until 15 Oct 2023

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 14 Oct 2023. KH

image supplied

Zaffé is a delightfully chaotic celebration of love and joy, as well as the loss and grief experienced by the show’s creators who are all artists part of the Middle Eastern diaspora in Australia.

 

Conceived and directed by Stéphanie Ghajar, Zaffé invites the audience to participate as guests in what appears to be a wedding celebration that takes place is an abandoned building in Beirut, but the wedding table remains unoccupied throughout – an ominous detail. 

 

During this immersive theatre work, the audience is seated at tables decorated with flowers and place cards bearing secret messages, visited by cast members for a one-on-one chat, served with pomegranate and soda beverages and entertained with traditional and modern music by the musicians and singers.

image supplied

As the 80-minute show progresses, we meet other performers from the Middle East via long-distance video calls, one of whom teaches us to make tabouli and the other who demands we all stand up while he teaches us to belly dance. The party has now started in earnest; there is dancing, games and stories ,both joyful and tragic, about life in war torn countries and life lived in this new country without loved ones who remain in those countries.

 

Zaffé is an experience like those much earlier Community Theatre performances that celebrated immigrant communities; I’m thinking of Emma: A Celebrazione, everything created by Brunswick Women’s Theatre, and multi-lingual company, Sidetrack, in Sydney in the ‘80s. And for immersive, participatory theatre, you can’t go past Jack Hibberd’s Dimboola that did it decades ago.

 

The intimacy and authenticity of these performers telling their personal stories and the joyous dancing, ululation and partying makes Zaffé a special and memorable event.

 

by Kate Herbert 

 

Conceived and directed by Stéphanie Ghajar
Produced by Lara Week and Stéphanie Ghajar
Created by Taj Aldeeb, Jean Bachoura, Rawya El Chab, Camille El Feghali, Stéphanie Ghajar, Ayman Kaake, Julia Landberg, Hadi Moussally, Meena Shamaly, Mia Shouha, and Lara Week
Scenic design by Ayman Kaake and Lara Week
Lighting design by Giovanna Yate Gonzalez
Stage managed by Julia Landberg 

 

KATE HERBERT RADIO REVIEWS Arts Weekly 3MBS Sat16 Nov2024

In this radio spot on Arts Weekly, on 3MBS, on Saturday 16 Nov 2024, I talk with Phillipa Edwards and Nick Tolhurst about the musical, Sister Act, Peter and the Starcatcher and My Brilliant Career at MTC. 

My Brilliant Career REVIEW 12 Nov 2024 ***1/2

MUSICAL

Book by Dean Bryant & Sheridan Harbridge, music by Mathew Frank, lyrics by Dean Bryant

Adapted from the novel by Miles Franklin

By: Melbourne Theatre Company

At Southbank Theatre, The Sumner, until 18 Dec 2024

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 16 Nov.2024. KH

6 Kala Gare, My Brilliant Career. Photo by Pia Johnson

Based on Miles Franklin’s 1901 novel of the same name, My Brilliant Career is a brave, new Australian musical with a vivacious lead performer in Kala Gare who shone playing Anne Boleyn in SIX the musical.

 

This exuberant production, energetically directed by Anne-Louise Sarks, has many vibrant and engaging moments, several bold and compelling songs, and strong and compelling performances from the entire cast of multi-skilled artists.

 

The narrative, like the novel, focuses on Sybylla Melvyn, a restless, young girl who aspires to be a writer but she feels that the world conspires against her ambition. Sybylla lives on her family’s failing, drought-stricken farm and the impressive set design (Marg Horwell) transports us into the dry, desolate heart of the Australian outback.

 

Kala Gare is ebullient, audacious and full voiced as Sybylla, and belts out the songs about her ambition, dissatisfaction, her barely concealed contempt for her father, her disappointment in her mother and her delight at getting away to live with her gran. Gare makes a feast of her big leading role.

 

The exceptional versatility of the cast is a highlight of this production who are acting, singing, playing instruments and even dancing. Christina Smith is sensitive and sympathetic as Sybylla’s disheartened mother, and it is a pity she didn’t sing more than just one solo; she is a musical theatre star with a fine voice and magnetic presence.

 

The show is not without some drawbacks: the narrative and song lyrics became repetitive, and the show was spinning its wheels for the last 20 mins. It felt too long and might benefit from an edit and restructure. The character of Sybylla did not develop or change a great deal in the story.

 

Comparisons with Judy Davis in her breakout role as Sybylla in the movie of 1979 are inevitable, but this is an entertaining, ambitious and exuberant production and the writers deserve praise for bringing us a new and original Australian musical: a unicorn. Give it an audience.

 

by Kate Herbert

My Brilliant Career. Photo by Pia Johnson

Cast

Frank/Ensemble Cameron Bajraktarevic-Hayward
Jimmy/Horace/Ensemble Lincoln Elliott
Ensemble Victoria Falconer
Sybylla Melvyn Kala Gare
Harry/Peter/Ensemble Raj Labade
Father/Jay-Jay/M'Swat/Ensemble Drew Livingston
Gertie/Blanche/Ensemble Hany Lee
Grannie/Rose Jane/Ensemble Ana Mitsikas
Mother/Helen/Mrs M'Swat/Ensemble Christina O'Neill
Ensemble Jarrad Payne

 

CREATIVE TEAM

Director Anne-Louise Sarks
Musical Director Victoria Falconer
Choreographer Amy Campbell
Set & Costume Designer Marg Horwell
Lighting Designer Matt Scott
Orchestrator / Vocal Arranger James Simpson
Sound Designer Joy Weng
Assistant Director Miranda Middleton
Assistant Musical Director Drew Livingston
Assistant Set & Costume Designer Savanna Wegman
Additional Music Arrangements Victoria Falconer
Voice & Text Coach Matt Furlani
Track Producer (‘Make A Success’) Jarrad Payne
Specialist for Whip Cracking/Blanket Throw Nicci Wilks

Offsite Standby Cover Alister Kingsley
Offsite Standby Cover Imogen Moore

Stage Manager Whitney McNamara
Assistant Stage Managers Tom O'Sullivan, Annie Gleisner