Tuesday, September 1, 2026

BOMBSHELLS - Echo Theatre - The Q, Queanbeyan Performing Arts Centre.

 


Written by Joanna Murray – Smith – Directed by Jordan Best

Lighting Design by Linda Buck – Set & Props designed by Jordan Best and Roz Hall

Costume Design by Jordan Best & Cast – Stage Managed by Owen Davis

Composed by Andrew Hackwill – Musical Arrangements by Leisa Keen

Choreographed by Nathan Rutup & Sally Taylor

Produced by Echo Theatre, The Q, Queanbeyan Performing Arts Centre August 27th – 29th 2026.

Evening performance on August 29th reviewed by BILL STEPHENS.

Written by Joanne Murray-Smith as a tour-de-force performance piece to showcase the talents of musical theatre star, Caroline O’Connor, “Bombshells” originally consisted of six short vignettes, focussed on the travails of six different women. O’Connor toured the piece nationally and it was filmed and broadcast on ABC television.

Later Sharon Millerchip, who had starred opposite O’Connor for a national tour of “Chicago”, repeated O’Connor’s feat by performing “Bombshells” for a season at the Ensemble Theatre in Sydney.

In 2024, Jordan Best, had the idea of staging a production of “Bombshells” for her company, Echo Theatre, casting each vignette with a different actress. It worked a treat. So much so that “Arts On Tour” has picked up the production for an eleven-city NSW regional tour, of which these performances in Queanbeyan were the first.

In remounting her production for touring, Best wisely took the opportunity to omit the nightclub singer segment designed to provide the opportunity for O’Connor to exercise her remarkable vocals.

This handsomely mounted touring version has been slimmed down to five different stories, told without interval, with each story performed by a different actress. Each has her own attractive setting, and all remain on stage for the duration of the play.


Yanina Clifton as Meryl.

Yanina Clifton delivers a poignant performance in the first monologue as Meryl, a mother on the verge of 40 and a nervous breakdown. Meryl verbalises her thoughts as she sinks under her efforts to meet her own expectations of being the perfect wife and mother, while breast-feeding her infant, trying to cope with her inquisitive daughter, and worries about completing the housework and having dinner prepared before her perfect husband arrives home from work.

Her situation is almost too sad to laugh at, but Murray-Smith’s razor-sharp dialogue makes it impossible not to.


Louise Bennett as Tiggy

Louise Bennet plays Tiggy, a cacti enthusiast from the Queanbeyan East Cactus & Succulent Club. In the midst of her illustrated lecture on cacti, Tiggy is distracted by her marital problems and her comments become as sharp and spiky as her cacti as she struggles to keep her lecture on track.


Sally Taylor as Mary O'Donnell

No such problems for Mary O’Donnell, captivatingly created by Sally Taylor.  Mary is supremely confident that she will cement her position as the Liza Minnelli of St. Clare’s College with her self-devised solo Shaunessy the Mystery Cat. Just as she finishes her rehearsal, Mary learns that her arch-rival has chosen the same solo. In desperation, Mary decides to dance her solo to the music of Shaft.


Ella Buckley as Theresa

Ella Buckley plays a bride, Theresa, who is preparing for her wedding. As she dons her wedding dress, Theresa confides her joy in finally getting to wear this gown. But as her thoughts drift towards her life after the wedding, Theresa begins to panic at the realisation that she knows very little about her groom, realising that her only reason for getting engaged was to wear the wedding dress.


Laineie Hart as Winsome.

The final character is portrayed by Lainie Hart. Her name is Winsome, and she’s a well-dressed, outwardly sophisticated widow, who at 65 decides to embark on a new hobby; reading books to blind clients. When one of her clients’ requests that she read him extracts from a racy novel, Winsome discovers rather more joys to book-reading than she had an imagined.

The five actors remain on stage in their individual settings for the duration of the performance, with each monologue separated by a short oscillating lightshow which hints tantalisingly at how each character has progressed following their revelations.

Stylish and absorbing, “Bombshells” is a delightfully satisfying production notable for the depth of characterisation achieved by each of the performers, and for the careful attention paid to every aspect, especially presentation and choreography.


                                                          Photos by Ben Appleton - Photox


TOUR DATES: Queanbeyan 27-29th August. - Cowra, Sept. 2.– Springwood, Sept 4  - Picton, Sept. 5. -Coffs Harbour, Sept 11.– Port Macquarie, Sept 12. – Dubbo, 16. -Belrose Sept18 & 19. – Griffith, Sept 23. – Albury, Sept. 25. – Bathurst, Sept. 27.


                             This review also published in AUSTRALIAN ARTS REVIEW.

BOMBSHELLS



Bombshells by Johanna Murray-Smith. Directed by Jordan Best. Echo Theatre. The Q Theatre. August 27-29.

 

Johanna Murray-Smith’s Bombshells is a series of insightful sketches reflecting the lives of a motley collection of women.

 

Jordan Best’s thoughtful production is off touring and is a tighter version than the one she directed in 2024, dropping off the last character, a singer from America doing a desperate Australian visit. This gave the show a slightly tentative finish on opening night but director and cast will find the right energy to tighten this.

 

The result is strong and often funny stuff, beginning with the pressurised monologue of a mother (Yanina Clifton) dealing with the non stop demands of a new baby and a couple of other small kids. Then comes the older woman (Louise Bennet) who is trying to sublimate her marriage breakup by taking up a new  hobby, growing cactus. The results as they show up in her presentation to what seems to be a cactus growers’ club are angry and spiky and darkly funny.

 

A bride (Ella Buckley), about to marry, talks through the romantic elements until she is left with some pretty mundane realities. The dress is not everything. A performance mad teenager (Sally Taylor) learns that not everyone plays fair as a rival in the talent quest sets out to outmanoeuvre her.

 

And a gentle widow (Lainie Hart) finds surprising fulfilment in reading to the blind…

 

Lovely perceptive stuff full of strong personalities that should appeal on tour.

 

Incidentally the lighting crew are to be congratulated for their navigation of the loss of a vital light at a crucial moment.

 

Alanna Maclean 

I LOVE YOU, YOU'RE PERFECT, NOW CHANGE



I Love You, You’re Perfect, Now Change. Music by Jimmy Roberts. Book and lyrics by Joe Dipietro. Directed by Janie Lawson. Free Rain Theatre. ACT Hub. To Sept 5.

 

This is a lean and funny musical that has been around for a few decades but which has sensibly been updated to fit the times.

 

There are no great surprises in its tracking of relationships between the sexes nor in its music and songs but it is funny and poignant and a skilled cast of six (Amelia  Andersson-Nickson, Connor McNaught, David Pearson, Deborah O’Toole, Sam Thomson and Sarah Copley) gives it a good run. 

 

There’s no real plot unless it is the charting of various moments of connection (or non-connection) between a range of characters. Dating, failing to date, weddings, parenthood, a fraught family car trip, the perils of texting, the desperation of loneliness, birth, babies  and finding a date at a funeral are among the matters touched upon in a rapid procession of short punchy scenes and songs that, if not particularly memorable, do the job.

The cast of the show

There’s an odd chess metaphor being played out with giant chess pieces on a checkered stage and mysterious robed figures turn up from time to time to manipulate the action. The Hub doesn’t always make it possible to see the floor from all parts of the audience so the metaphor is a little lost except for a late vicious move by a Queen.

 

A musical duo (Leo Amadeus on piano and Laura Lay on violin) are the very hard working orchestra gorgeously underpinning it all.

 

Hard to pick favourites in a large song list but the teamwork and the singing of the cast is excellent and energetic and the range of ages, characters and genders done perceptively.  The ending, with an ancient couple picking each other up at a funeral, is an aptly funny comment on the whole parade of love gone right and love gone wrong.

 

Alanna Maclean