In this review spot, I discuss my work as an Actor in role play/workplace simulations for care workers’ training assessments.
I talk about simple improvisational techniques such as offers, accept, block, save.
My work includes role playing characters for Aged Care, Community support, youth and family intervention, and disability workers.
In this review spot, I discuss the musical, Beetlejuice, with Phillipa Edwards, host of Arts Weekly.
Then I talk about Tabletop Shakespeare (which I’ve not seen yet), which is a series of shows retelling each of Shakespeare’s plays using kitchen items. Yes!
It’s by UK company, Forced Entertainment and is in Melbourne as part of Rising Festival.
Then I talk about Tabletop Shakespeare (which I’ve not seen yet), which is a series of shows retelling each of Shakespeare’s plays using kitchen items. Yes! It’s by UK company, Forced Entertainment and is in Melbourne as part of Rising Festival.
Click link:
MUSICAL THEATRE
Book by Scott Brown & Anthony King, Music & Lyrics by Eddie Perfect
At Her Majesty’s Theatre, Melbourne until 31 August 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 7 June 2025. KH
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| beetlejuice eddie-perfect-&cast members- image supplied |
From its very first number, The Whole ‘Being Dead ‘Thing, the show declares its mischievous irreverence. The charismatic Eddie Perfect is riotously good as Beetlejuice—boisterous, brash, and impossible to ignore. With his trademark vocal eccentricities and comedic timing, Perfect is so clearly perfect for the role (Sorry! How could I not say it?), it's unsettling. He prowls the stage like a rock star with a death wish, desperate to claw his way back into the land of the living.
The premise follows the Maitlands—sweet, sheltered newlyweds played with wide-eyed charm by Elise McCann and Rob Johnson—who die in an unfortunate electrical accident. Now ghosts, they find their home invaded by the grieving Lydia Deetz, portrayed by the talented Karis Oka. Oka brings pathos and powerhouse vocals to the role of a teenage goth coming to terms with her mother’s death in haunting numbers like Dead Mom. Her emotional journey anchors the mayhem with sincerity.
Tom Wren is dignified as Lydia’s befuddled father, Charles, while Erin Clare nearly steals one scene as Charles’ ditzy fiancee, Delia, the self-absorbed life coach with a penchant for pop psychology, spiritual weirdness and designer caftans. The vivacious ensemble is impressive as a revolving door of ghouls, skeletons and nightmarish bureaucrats.
Director Alex Timbers keeps the tone playful and the pacing snappy, supported by Connor Gallagher’s energetic choreography. Act One rockets along but Act Two loses steam during the chaotic journey to the underworld that is overcrowded with a running parade of every bizarre character mentioned in the song lyrics, while the father-daughter reconciliation in hell feels contrived and emotionally rushed.
It is also puzzling and disappointing that Beetlejuice, the central character, does not have a “Wow!” song as he exits the stage. We want a big Eddie number so we can stand and cheer him on his way.
Still, with a versatile and magnetic cast, dynamic design, and darkly delightful humour, Beetlejuice is a rollicking night at the theatre—even if the ending makes death seem a bit too tidy.
By Kate Herbert
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| beetlejuice eddie-perfect-&cast - image supplied |
CAST
CREATIVE TEAM
SELECTED SONGS
KATE HERBERT Arts Weekly3MBS Sat17MAY2025 https://youtu.be/ErYyDkMncrk
In this review spot, I discuss the musical, Hadestown, with Phillipa Edwards, host of Arts Weekly.
Then I talk about Henry 5, Bell Shakespeare's version of Shakespeare's Henry V.
THEATRE
by William Shakespeare, by Bell Shakespeare
At Fairfax Studio, Arts Centre Melbourne until 25 May 2025
Reviewer: Kate Herbert
Stars:***1/2 (3.5)
This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 17 May 2025. KH
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| JK Kazzi as Henry 5- Bell Shakespeare-image Brett Boardman |
Bell Shakespeare’s Henry 5, directed by Marion Potts, is a gritty, muscular reimagining of Shakespeare’s history play. Staged with a lean cast and modern edge, this production uses the First Folio version as its base, with scenes trimmed and some characters merged to tighten the narrative for a contemporary audience.
The opening tableau sets the tone: a band of young nobles, clad like streetwise brawlers, engage in boxing, wrestling and press-ups, establishing a raw, physical energy that pulses throughout the performance. Masculinity, in this world, is gritty and performative—even when played by women.
This warrior code is the backdrop against which JK Kazzi’s Henry emerges—a tough, youthful king surrounded by a gang of loyal, dangerous followers who feel more like a street gang than a royal entourage. Ella Prince as Essex and Alex Kirwan as Westmoreland are Henry’s doughty, noble pals, adding grounded strength and camaraderie to his otherwise volatile circle.
Kazzi’s Henry is compelling in physical presence—bristling with energy and volatility—but falters when it comes to delivering the weight of Shakespeare’s great speeches. His renditions of “Once more unto the breach” and the St. Crispin’s Day monologue lack the vocal finesse needed to elevate the verse. His vocal delivery, particularly in moments of intensity, is harsh and unsupported, with audible gasps between lines that disrupted the rhythm and robbed the language of its poetic power. The editing of the script didn’t help, leaving some emotional and narrative gaps.
Despite its spare staging, the production makes effective use of technology. Microphones are used intermittently to amplify key monologues and add vocal distortion for dramatic effect, while rear projections display the dates and locations of battles and provide French-to-English translations. These additions enhance clarity and atmosphere without overwhelming the minimalist aesthetic.
The production shines in its French court scenes. Jo Turner is a standout, delivering a hilariously dry and erudite performance as the cleric explaining Salic Law, then shifting into a palpably anxious and human King of France. Mararo Wangai brings quiet dignity to the French herald Montjoy, while Jack Halabi’s Dauphin is hilariously smug and Ava Madon and Odile le Clézio balance playfulness and sincerity in Katherine and Alice.
Nigel Poulton’s fight choreography is tight and visceral, making great use of Anna Tregloan’s modular, industrial set. The muddy tubs scattered across the stage add a visceral texture to the battles—soldiers literally sink into the filth of war. The haunting image of Henry crawling from beneath a pile of blackened corpses is one of the production’s most powerful moments.
Though not without flaws, Potts’ Henry 5 is a brave and visceral take that foregrounds the brutality of war and the fragility of leadership.
By Kate Herbert
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| Henry 5 cast Bell Shakespeare- image Brett Boardman |
Cast:
· JK Kazzi as King Henry
· Jack Halabi as Dauphin
· Alex Kirwan as Westmoreland
· Odile le Clézio as Alice
· Ava Madon as Princess Katherine
· Harrison Mills as Michael Williams / Scroop
· Ella Prince as Exeter
· Jo Turner as King of France / Canterbury / French Soldier
· Mararo Wangai as Montjoy
· Rishab Kern as Grey / English Soldier / Understudy
· Ziggy Resnick as Grey / English Soldier / Understudy
Creative Team:
· Director: Marion Potts
· Set and Costume Designer: Anna Tregloan
· Composer and Sound Designer: Jethro Woodward
· Lighting Designer: Verity Hampson
· Movement, Intimacy, and Fight Director: Nigel Poulton
· Voice Director: Jack Starkey-Gill
MUSICAL THEATRE
Music, lyrics & book by Anais Mitchell, developed with and directed by Rachel Chavkin
At Her Majesty’s Theatre, Melbourne 29 June 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 17 May 2025. KH
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| Abigail Adriano, Christine Anu and Noah Mullins in Hadestown-image Lisa Tomasetti. |
From the energetic, opening ensemble number, Road to Hell, Hadestown captivates its audience with its inventive blend of myth, music and modern storytelling. At this media preview performance, Noah Mullins plays Orpheus, while Eliza Soriano replaces Abigail Adriano as Eurydice, bringing fresh energy and nuance to this tragic love story.
This modern musical is a major feat of theatrical writing with music, lyrics and book written by the supremely talented Anaïs Mitchell and developed with director Rachel Chavkin. The narrative merges two Greek myths: Orpheus and Eurydice, and Hades and Persephone.
Mitchell’s genre-blending score fuses 1920s jazz, rhythm and blues, popular ballads, and aching love duets. The opening ensemble number is a foot-tapping feast, immediately immersing the audience in the show’s gritty, mythical world.
Mullins brings wide-eyed naivete and endearing gaucheness to the role of Orpheus, the musical and poetic genius whose songs seek to reshape the world. His vulnerability is heartfelt, particularly in the devastating Epic III.
Opposite Mullins, Soriano is a feisty, emotionally raw Eurydice who captures the character’s internal damage with moving clarity. Their duets are soulful and enchanting, especially All I’ve Ever Known, delivering a tenderness that underscores the story’s tragic stakes.
Adrian Tamburini is a towering highlight as Hades. His rich, dark velvet bass and statuesque presence make him both a menacing and strangely magnetic god of the underworld. Elenoa Rokobaro is phenomenal as Persephone, lighting up the stage with her powerhouse vocals and effervescent charisma as the goddess who brings summer to the world above.
In contrast, Christine Anu feels miscast as Hermes. While her vocals match the show’s style, her limited acting range struggles to carry the weight of the narrator, especially when placed alongside the emotional depth of other performances.
The trio of Fates — Sarah Muir, Jennifer Trijo, and Imani Williams — provide a compelling chorus. Echoing ancient Greek theatre, they foretell doom with eerie beauty and are in perfect harmony, both musically and dramatically.
The ensemble of singer-dancers injects every moment with energy, filling the stage with multiple characters, vivacious choreography (David Neumann) and layered vocal harmonies. The on-stage band is exceptional, with memorable solos from trombonist Griffin Youngs.
This production of Hadestown doesn’t just retell a myth — it reanimates it with heart, heat and haunting harmony. Mullins and Soriano sing a story of doomed love that feels devastatingly alive. We desperately wish that the ending will be different, but we all know this story; To quote Mitchell’s lyrics, “It’s a love song. It’s a sad song’”.
by Kate Herbert
Cast
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| Hadestown cast -Adrian Tamburini on balcony- image Lisa Tomasetti |
Creative Team
This production is presented by Opera Australia and JONES Theatrical Group, with original Broadway producers Mara Isaacs, Dale Franzen, Hunter Arnold, and Tom Kirdahy.
In this radio review spot, I talk about Andrew Scott's remarkable solo performance in Vanya, now on National Theatre at Home.
Then we talk about The Lord of the Rings - a musical tale, which has some highlights and some less successful moments.
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MUSICAL
THEATRE
Book
& Lyrics by Shalin McKenna and Matthew Warchus, adapted from JRR Tolkien’s
novels
Music by A.R. Rahman, Värttinä & Christopher Nightingale
At Comedy Theatre, Melbourne, until 8 June 2025
Stars: ***1/2 (3.5)
This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 3 May 2025. KH
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| Lord of the Rings, Melbourne cast |
The Lord of the Rings – A Musical Tale, is an ambitious and vivacious stage adaptation of J.R.R Tolkien’s beloved novels that brings Middle-Earth to life through a creative fusion of music, song, puppetry, projections, illusions and movement.
As the audience enters the theatre to take its seats, a crowd of Hobbits sing and romp cheerfully on stage and rove amongst the audience, adding a lively pre-beginning to the production.
With direction by Paul Hart, the multi-talented cast of actor-singer-dancers performs with energy and conviction and many also play instruments for the folk music infused score, giving the production a vibrant texture.
Puppetry is used to striking effect, especially in the depiction of the Dark Riders. These ghostly, spectral horses are genuinely haunting, gliding across the stage with eerie elegance and creating some of the most memorable visuals in the show. The giant spider in Act Two is less successful.
Among the performances, Laurence Boxhall as Gollum is a show-stealer. Played with muscular physicality and a guttural, disturbing vocal tone, the character’s split personality is compelling and deeply unsettling. Although it is clearly inspired by Andy Serkis’s iconic film portrayal, Boxhall brings it to life with his unique stage presence.
Rarmian Newton as Frodo Baggins, the Hobbit, provides a strong emotional core to the story as he journeys not only over Middle-Earth but from naivete to strength and courage. Frodo is tasked with taking the Ring to the Fires of Mordor, and he carries this burden of the Ring with vulnerability and resolve.
Terence Crawford’s Gandalf is suitably majestic and authoritative, providing moments of warmth, wisdom and startling magic throughout the journey. Jemma Rix brings power and beauty to Galadriel, the Elvish queen, and her appearance and song were highlights. Rob Mallett’s Aragorn is compelling, dignified and rich-voiced.
The production is successful in many ways, but there are some noticeable issues.
The staging is overly cluttered at times and, although some of the choreography (Anjali Mehra) is effective, other dance and movement routines feel amateurish or awkward and do not serve the narrative or characters. Galadriel's appearance lacks the elvish magic she deserves, and her costume is disappointing; it looked like a gold, 70s jump suit!
The Elvish characters’ dance moves lean oddly into 1960s hippy territory, undermining the mystical, ethereal quality often associated with elves in Tolkien’s world.
While not without its flaws, The Lord of the Rings – A Musical Tale is a bold and heartfelt retelling of Tolkien’s classic. It may take creative liberties, but its ambition and moments of theatrical magic make it a production worth experiencing.
KATE HERBERT
Cast
Laurence Boxhall as Gollum
Andrew Broadbent as Elrond
Hannah Buckley as Pippin
Stefanie Caccamo as Arwen
Rohan Campbell as Boromir
Jeremi Campese as Merry
Ruby Clark as Rosie
Terence Crawford as Gandal
Wern Mak as Samwise Gamgee
Rob Mallett as Strider
Connor Morel as Gimli
Rarmian Newton as Frodo Baggins
Conor Neylon as Legolas
Jemma Rix as Galadriel
Ian Stenlake as Saruman
Ensemble: Georgia Anderson, Gianna Cheung, Nicholas Cunningham, Cameron Davey, Natasha Dumlao, James Frampton, Anthony Garcia, Jonathan Gardner, Matt Hourigan, Esther Lukins, Jayme Jo Massoud, Patrick Schnur, James Whiting and Zayneb Zerzouri.
Creative Team
Director – Paul Hart
Musical Direction – Andrew Bevis
Choreographer & Movement Director – Anjali Mehra
Lighting Designer- Rory Beaton
Projection Designer - George Reeve
Original Sound Designer - Adam Fisher
Fight director – Dani McCallum
Puppet Designer – Charlie Tymms
Magic & Illusions – Adam Mada
