In the Heights - COMMENT ON FIRST HALF ONLY- 7 Aug 2025

COMMENT based on first half only.

MUSICAL THEATRE

Music by Lin-Manuel Miranda’s, book by Quiara Aegría Hudes 

At Comedy Theatre, Melbourne, until 6 Sept 2025

Reviewer: Kate Herbert

Stars: NA 

NB: This is only a COMMENT, not a review of the production. My comments are based on only the first half that I was to attend on 7 Aug 2025. This comment is published only on this blog. I discussed the show with Nick Tolhurst on Arts Weekly on 3MBS on Sat 16 Aug 2025. KH

Ensemble, In The Heights_Melbourne

 

 

 

 

Lin-Manuel Miranda’s In the Heights, with book by Quiara Alegría Hudes, bursts onto the Melbourne stage with vibrant Latin beats, rap-infused energy, a swirl of salsa hips, streetwise swagger, and an exuberant celebration of Latin American community life in the New York neighbourhood of Washington Heights. 

 

First staged in 2008, the show fuses Latin rhythms, R & B, and the rapid-fire rap style that Miranda would later refine in Hamilton. This Melbourne production is a feast of movement and music, its sassy, saucy choreography that fuses salsa, hip hop, and street dance into an irresistible whirlwind. But the musical has an uneven narrative construction. 

 

The story unfolds over three days during a sweltering summer. Usnavi (Ryan Gonzalez), a young bodega owner, dreams of returning to his parents’ homeland, the Dominican Republic. Around him, neighbours and friends struggle with love, ambition, identity, and the pressures of rising rents. Nina (Maria Gonzalez), the pride of the barrio, comes home unexpectedly after dropping out of Stanford. Benny (Ngali Shaw), the only non-Latino in the community, is in love with Nina, while Vanessa (Olivia Vasquez) yearns to escape to an apartment downtown. A winning lottery ticket, a sudden blackout, and the death of the beloved matriarch, Abuela Claudia (Lena Cruz), all push the characters towards moments of truth and change.

 

Most of the cast are of Spanish-speaking backgrounds which lends authenticity to the New York Latino culture in the story. Olivia Vasquez delivers Vanessa’s yearning with conviction, her fine musical theatre voice soaring in her solo moments and adding a poignant layer. Maria Gonzalez’s Nina is quietly affecting, her emotional conflict sensitively played, particularly in her scenes with Shaw. Ngali Shaw is charismatic and warm as Benny, bringing sincerity and charm to the role without overplaying it. There are other strong performances, but (from my viewing of the first half of the production only) the vocal technique of some other cast is limited.

 

This production’s choreography is a high point — sensual, flirtatious, and joyously precise — marrying Latin dance styles with street dance in a way that gives the ensemble’s work infectious energy. Much of the music is irresistible: salsa beats collide with merengue, bolero, and freestyle rap, showcasing Miranda’s knack for layering musical styles to reflect cultural identity. 

 

However, the uneven storyline is less satisfying (in the first half, at least). With its shifting focus and multiple subplots, it lacks a strong central figure to anchor the emotional arc. Usnavi’s narration ties the vignettes loosely together, but the piece still feels more like a series of interconnected sketches than a driving narrative.

 

The first half of this In the Heights delivers a vibrant street party of sound and movement. Yet beneath the kinetic dazzle, the script’s structural weaknesses and diffuse focus hold it back.

 

NB: My comments are based on only the first half that I attended on 7 Aug 2025.

 

By Kate Herbert

 

Cast

• Usnavi De La Vega: Ryan González
• Vanessa: Olivia Vásquez
• Nina Rosario: Mariah Gonzalez
• Benny: Ngali Shaw
• Sonny: Steve Costi
• Abuela Claudia: Lena CruzTo
• Daniela: Vanessa Menjivar
• Carla: Tamara Foglia Castañeda
• Kevin Rosario: Alexander Palacio
• Camila Rosario: Angela Rosero
• Piragua Guy: Richard Valdez
• Graffiti Pete: Dayton Tavares
• Ensemble & Swings: Asmara Soekotjo, Jemma Gonzalez, Trevor Santos, Malena Searles, Mario Acosta-Cevallos, Jerome Javier, Selina Salgadoe

Creative Team

• Director: Luke Joslin
• Choreographer: Amy Campbell
• Music Director: Zara Stanton
• Music Supervisor: Victoria Falconer
• Associate Choreographer: Sela Vai
• Resident Director / Company Manager: William Centurion
• Lighting Designer: Jasmine Rizk
• Costume Designer: Keerthi Subramanyam
• Tour Producer: Madeleine Gandhi
• Production Manager: Alex Duffy
• Sound Designer: David Tonion

 

 

KATE HERBERT Arts Weekly 3MBS SAT 2 AUG 2025

In this radio review spot on Sat 2 Aug, I discuss Bell Shakespeare’s Coriolanus by William Shakespeare with Nick Tolhurst. 

I mention some other interpretations of this character, such as David Oyelowo (NTHome), Ralph Fiennes (BBC film 2011) and Steven Berkoff. 

KATE

Click link: 

ArtsWeeklySat2Aug2025

Coriolanus REVIEW 25 July 2025 ***

THEATRE

Written by William Shakespeare, by Bell Shakespeare

At  Fairfax Studio, Arts Centre Melbourne, until 10 Aug 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 2 Aug 2025. KH

Coriolanus:  L-R-Peter Carroll, Hazem Shammas & (back only) image supplied

Bell Shakespeare’s 2025 production of Coriolanus, directed by Artistic Director Peter Evans, takes on one of Shakespeare’s least performed and most challenging tragedies.

 

 Coriolanus is a hard sell having no subplots, little humour, and a protagonist who is more despised than admired and lacks the nuances or inner struggles that are evident in other Shakespearean tragic lead characters. This production—while visually clean and competently staged—struggles to find the emotional depth and political ferocity the play demands.

 

Hazem Shammas, following his role as Macbeth for Bell, returns as the battle-hardened Roman general Caius Martius, later dubbed Coriolanus after his conquest of the Volscian city of Corioli. Shammas brings simmering resentment and disdain to the role, particularly in scenes with the Roman Plebeians he is expected to represent in the Senate. However, his portrayal leans more toward petulance than commanding gravitas. Coriolanus's volatile pride is present, but his inner conflict and ultimate undoing never fully ignite.

 

Brigid Zengeni as Volumnia, Coriolanus’s overbearing and militaristic mother, gives one of the more emotionally resonant performances, though the pivotal scene in which she convinces her son not to attack Rome lacks the devastating power it should carry. The moment feels rushed, and Coriolanus’s change of heart too abrupt to be believable.

 

Peter Carroll is the standout as Menenius, the canny and silver-tongued patrician who attempts to mediate between the elite and the citizenry. Carroll’s rambling delivery masks a strategic political mind, and he brings both levity and weight to an otherwise stark production.

 

Evans’s direction opts for symbolism over spectacle. Battle scenes are suggested rather than staged, with Shammas’ being ritualistically blood-smeared rather than bloodied in combat. This minimalist approach is at odds with the play’s militaristic core. The Plebeians—presented here more like scattered student protesters than desperate, disenfranchised citizens—lack cohesion and menace.

 

While the production attempts to frame the play’s themes of populism, elitism, and pride for a contemporary audience, it never fully coheres. Compared to Steven Berkoff’s intensely physical performance in 1996 (UK) , Ralph Fiennes' simmering, dangerous interpretation (BBC 2014), or David Oyelowo’s charismatic Coriolanus at the National Theatre (2024), this version feels muted and uneven.

 

by Kate Herbert

 

 CAST
Coriolanus – Hazem Shammas

Volumnia – Brigid Zengeni

Menenius – Peter Carroll

Aufidius – Anthony Taufa

Sicinius – Matilda Ridgway

Brutus (Tribune) – Marco Chiappi

Virgilia – Suzannah McDonald

Cominius – Gareth Reeves

Citizen 1 / Ensemble – Jules Billington

Titus Larcius / Ensemble – Septimus Caton

 

CREATIVE TEAM
Director – Peter Evans
Designer – Elizabeth Gadsby
Lighting Designer – Verity Hampson
Composer & Sound Designer – Max Lyandvert
Movement Director – Nigel Poulton
Voice Coach – Jess Chambers
Stage Manager – Amy Northcote

 

 

KATE HERBERT Arts Weekly 3MBS SAT 19 JULY 2025

 

In this review spot, I discuss the musical, ANNIE, with Nick Tolhurst, producer and host of Arts Weekly. 

I then review Here You Come Again, a play with Dolly Parton songs. 

You can also read see my  reviews on this  blog site: kateherberttheatrereviews

Click link: 

ArtsWeeklySat19July2026

Here You Come Again, REVIEW 18 July 2025 ***

 THEATRE WITH SONGS

Music by Dolly Parton & others; Created by Bruce Vilanch, Gabriel Barre & Tricia Paoluccio; Australian adaptation: Mike McLeish, Fiona Harris

At  Comedy Theatre Melbourne until 2 Nov 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 19 July 2025. KH

 

Here You Come Again, Tiricia PAoluccio (centre) & cast - credit Cameron Grant.

Here You Come Again, a play that features the songs of Dolly Parton, promises a night steeped in the iconic music of the Queen of Country. While it delivers on the musical front, the theatrical experience is a mixed bag.

 

The star of the show is undoubtedly Tricia Paoluccio who inhabits the character of Dolly Parton. With her uncannily Dolly-like looks and replication of Dolly’s signature vocal style right down to its Country twang, she channels the spirit and charisma of the legendary singer. Just add the glittering costumes, massive platinum wigs, wry banter, broad smile and some of Dolly’s folksy self-help lines, and you have a Dolly clone.

 

Each time Paoluccio takes the stage echoing Dolly's wit and warmth, the energy lifts. Dolly’s memorable tunes – Jolene, Nine to Five, I Will Always Love You, and Islands in the Stream – are delivered with vocal and musical power and precision that delight the audience, some of whom are Dolly look-alikes!

 

Unfortunately, the musical highlights are punctuated – or should we say interrupted? – by a surprisingly weak storyline that might be summarised as, “A 40+ gay man’s journey of self-discovery via the folksy psychology of Dolly Parton.”

 

The play centres around Kevin (Dash Kruck), the afore-mentioned 40-something Aussie bloke living in Bendigo in his parents’ attic and failing as a stand-up comedy. Unfortunately, Kevin is a character we struggle to connect with, or care about most of the time. He may be over 40, but his Dolly super-fandom and his juvenile relationship reactions, are those of an obsessional adolescent.

 

The narrative is uninspired and, frankly, often dull. It veers into territory more like a schmaltzy pop psychology quick-fix session than a compelling theatrical plot, attempting to solve emotional issues with a Dolly-esque platitudes. 

 

The show was written during the Pandemic which explains Kevin’s incarceration in his parents’ attic: isolated, alone, depressed and wittering away to his Dolly posters. The problem is that the references to Covid and Lockdown are non-specific, particularly now, after so long. “He tested positive’ could indicate all sorts of diseases now; “When this is all over” could mean anything; and a sudden Comedy Club closure might just suggest poor management.

 

The on-stage band is exceptional and the three supporting actor/singer musicians are a teat in multiple roles.

However, the lack of focus leaves the production unsure of its identity; at times it is like a genuine musical trying to tell a story, and at others, a tribute concert. However, with a running time of two and a half hours, it  is overly long, given the thin plot.

 

Ultimately, Here You Come Again is a show with a strong heart – Dolly's music and her captivating portrayal by the lead­–  trying to beat inside a rather flimsy body – the story. If you're a die-hard Dolly fan willing to overlook a meandering plot for the sheer delight of hearing her hits performed really well, you’ll find moments to cherish. For those anticipating a truly engaging theatrical experience beyond the music, Here You Come Again struggles to deliver.

 

By Kate Herbert

 

CAST

Dolly Parton: Tricia Paoluccio

Kevin: Dash Kruck

Multiple Roles & vocals: Kellie Rode, Bailey Dunnage, Laura Joy Bunting

 

CREATIVE TEAM

Creators: Bruce Vilanch, Gabriel Barre & Tricia Paoluccio

Australian adaptation: Mike McLeish, Fiona Harris

Direcror: Gabriel Barre

Musical Director: Adnrew Warboys

Designer; Paul Willis

Costume & Make-up Designer: Jenny Langford

Lighting Designer: Jason Bovard

Choreographer: James Maxfield

 

Annie! REVIEW 11 July 2025 ****

 MUSICAL THEATRE

Book: Thomas Meehan; Music: Charles Strouse; Lyrics: Martin Charnin
Based on Little Orphan Annie by Harold Gray

At  Princes Theatre Melbourne until Sunday 2 November 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 19 July 2025. KH

Amanda Lea Levergne, Matilda Casey (Not Melbourne), Anthony Warlow, & Ensemble-image -Daniel-Boud 

The sun is definitely out in Annie, the beloved Broadway musical now playing at Melbourne’s Princess Theatre, with its heart-warming tale, strong performances, and clever production elements giving this classic story a fresh sparkle.

Set during the Great Depression, Annie follows the indomitable red-headed orphan, played with endearing charm by Isabella Hayden, as she dreams of escaping her bleak life in a New York City orphanage run by the boozy and bitter Miss Hannigan (Debora Krizak). Annie’s fortunes turn when she’s invited to spend Christmas with billionaire industrialist Daddy Warbucks (Anthony Warlow), who is soon captivated by her optimism and resilience.

Based on the 1920s–30s Little Orphan Annie comic strip created by Harold Gray, the musical features a book by Thomas Meehan, music by Charles Strouse, and lyrics by Martin Charnin. Karen Johnson Mortimer’s direction strikes a deft balance between sentimental warmth and brisk storytelling. Michael Woodcock’s choreography is sharp, clean, and packed with energy, particularly in Hard Knock Life, in which the orphan girls scrub the floor and stamp and slap in rhythmic protest at their grim existence.

Hayden leads the orphan ensemble with plucky conviction, though she’s nearly upstaged in Tomorrow by the adorable Sandy, her canine companion, who wins the audience’s heart with ease.

Warlow reprises Warbucks with seasoned assurance and gravitas, delivering a heartfelt performance that anchors the show emotionally.

 Krizak as Miss Hannigan is deliciously grotesque, her comic timing impeccable. She shines in Easy Street, a saucy and sly trio with Keanu Gonzalez as her slippery brother Rooster and Mackenzie Dunn as his ditzy, gold-digging girlfriend, Lily St Regis. Their snappy vocals and well-rehearsed choreography make this number a true showstopper.

Craig Wilkinson’s video projections provide immersive and surprisingly realistic visuals of 1930s New York—from drab orphanage corridors to towering cityscapes—while Kenneth Foy’s stage design shifts seamlessly from muted greys and browns to the rich golds and reds of Warbucks’ luxurious home. The uncluttered design ensures pace and flow, letting the performances and music shine.

Although the final scene resolves the plot and Annie’s story satisfactorily, it is largely dialogue-driven and the staging feels static, making it less theatrically engaging than the ebullient, choreographed scenes that precede it.

This Annie offers enough polish, pep, and pathos to satisfy audiences of all ages. With a winning cast and high production values, it proves once again that this plucky orphan’s journey from rags to riches still tugs the heartstrings and tickles the funny bone.

by Kate Herbert 

 (One comment about Annie in general: It seems to work best when the Annie is not only smiling and charming but also tough and resilient in the way only a Depression Era orphan in NYC could be!)

---

Cast:
Isabella Hayden (Annie), Anthony Warlow (Daddy Warbucks), Debora Krizak (Miss Hannigan), Keanu Gonzalez (Rooster), Mackenzie Dunn (Lily St Regis)

Creative Team:
Book: Thomas Meehan
Music: Charles Strouse
Lyrics: Martin Charnin
Based on Little Orphan Annie by Harold Gray
Director: Karen Johnson Mortimer
Choreographer: Michael Woodcock
Set Designer: Kenneth Foy
Video Projections: Craig Wilkinson

 

 

A View From the Bridge, NT at HOME, REVIEW, 4 July 2025 ****

 

THEATRE ONLINE

A View from the Bridge by Arthur Miller, 

Online at National Theatre at Home

 https://www.nationaltheatre.org.uk/productions/a-view-from-the-bridge/

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 a Saturday soon in 2025. KH

Mark Strong, Nicola Walker-image supplied

Ivo van Hove’s 2014 Young Vic production of Arthur Miller’s A View from the Bridge, now streaming on National Theatre at Home, is a stark, visceral reimagining of a classic. Van Hove strips the play to its emotional core, presenting a raw, almost ritualistic interpretation that echoes Greek tragedy.

 

Eddie Carbone (Mark Strong), a dock worker, and his wife Beatrice (Nicola Walker) are Sicilian-Americans who have cared for Eddie’s niece, Catherine (Phoebe Fox) since she was an infant. When Beatrice’s two Sicilian cousins, Rodolpho (Luke Norris) and Marco ( Emun Elliott), arrive as illegal immigrants, Eddie welcomes them –  until Rodolpho  shows romantic interest in Catherine. Eddie’s reaction seems to be the protectiveness of a doting adoptive father, but incrementally becomes unhealthily jealous and eventually vindictive.

 

Strong delivers a powerful performance as Eddie Carbone, capturing the character's descent from affable uncle to obsessive patriarch with intensity and nuance. Walker portrays Beatrice with a quiet strength, embodying a woman torn between loyalty and self-preservation. Fox's Catherine is both innocent and assertive, navigating her own awakening amidst familial pressures.

 

Norris brings ebullience, charm and sincerity to Rodolpho, while Elliott's Marco, whose illegal work provides for his starving family in Sicily, exudes a brooding presence that hints at underlying tensions. Michael Gould plays Alfieri, the family lawyer, who also acts as narrator, providing a moral compass and framing the unfolding tragedy with measured detachment.

 

The stage is a minimalist, white box, devoid of props or set pieces, creating a sense of confinement and inevitability. This bare environment focuses attention squarely on the characters' internal struggles and the simmering tensions that drive the narrative.

 

One scene employs extended pauses to heighten the tension between Eddie and Rodolpho as the family skirts around the topic of Catherine and Rodolpho's intimacy. While this technique aims to underscore the unspoken conflicts, the prolonged silences feel contrived, disrupting the production's otherwise relentless momentum.

 

Jan Versweyveld's lighting design bathes the stage in stark illumination, casting sharp shadows that mirror the characters' moral ambiguities. An D’Huys's costumes are understated, reinforcing the production's timeless quality. Tom Gibbons's sound design punctuates the action with subtle yet impactful cues, enhancing the overall atmosphere.

 

This production of A View from the Bridge is a compelling exploration of desire, honour and the human capacity for self-deception. Its stripped-back aesthetic and intense performances provide a fresh perspective on Miller's work for a contemporary audience.

By Kate Herbert

---

Cast:

·       Mark Strong – Eddie Carbone

·       Nicola Walker – Beatrice

·       Phoebe Fox – Catherine

·       Luke Norris – Rodolpho

·       Emun Elliott – Marco

·       Michael Gould – Alfieri

·       Richard Hansell – Louis

·       Jonah Russell – First Officer

·       Pádraig Lynch – Second Officer

·       Samantha Coughlan – Woman

·       Cary Crankson – Man

·       Samantha Dakin – Woman

Creative Team:

·       Director – Ivo van Hove

·       Design & Lighting – Jan Versweyveld

·       Costume Design – An D’Huys

·       Sound Design – Tom Gibbons

·       Dramaturgy – Bart Van den Eynde

·       UK Casting – Julia Horan CDG

·       US Casting – Jim Carnahan

·       Associate Director – Jeff James

·       Associate Designer – James Turner

·       Associate Lighting Designer – Nicki Brown

·       Associate Sound Designer – Alex Twiselton

 

 

 

Cast

 

Creative Team