KEROSENE - Off the Ledge Theatre - Courtyard Studio - Canberra Theatre Centre

 

Winsome Ogilvie as Millie in "Kerosene"

Written by Benjamin Nichol – Produced and Directed by Lachlan Houen

Assistant Director: Anna Lorenz – Stage Manager: Lucy Van Dooren

Co-Lighting Designer – Liah Naidoo -Composer: Fergus Mashman

Voice and Performance Coach – Sarah Chalmers.

Presented by Off the Ledge Theatre.

Courtyard Studio – Canberra Theatre Centre 16th - 19th July 2026.

Performance on 16th July reviewed by BILL STEPHENS

Winsome Ogilvie as Millie in "Kerosene"

Director, Lachlan Houen certainly set himself and his actor, Winsome Ogilvie, a challenge with his production of Melbourne playwright, Benjamin Nichol’s 2021 monodrama, “Kerosene”.

Raw and confronting, the play is narrated by Millie (Winsome Ogilvie) who describes the events leading to a catastrophic event which she has initiated.

Millie is a tough, streetwise young woman seeking love and acceptance. However, she encounters rejection at every turn, except from her elderly grandfather, and her best friend, Annie.

Millie’s friendship with Annie becomes her emotional anchor, but when Annie becomes involved in a relationship with an abusive boyfriend, Millie’s inability to cope with the situation becomes the central focus of the play.

Essentially an examination of what drives people to commit acts of violence, “Kerosene” is presented on a bare stage without props, costumes, or other actors. The challenge for both director and actor is to maintain audience interest for the duration of the play.

Houen and Ogilvie attack this challenge head on.

 

Winsome Ogilvie as Millie in "Kerosene"

Perfectly cast as the disaffected protagonist Millie, Ogilvie’s understanding of the character is clearly projected and the clarity of her diction admirable. Her impressive performance is brave and compelling, never flinching, despite confronting dialogue.

It may have been even more affecting had she been able to bring more light and shade to her performance which was pitched at such an intense level throughout as to leave her nowhere to go as the play reached its climax.

Similarly, Houen’s direction, though thoughtful and inventive in exploring opportunities to have his actor prowl the stage rather than risk the production becoming too static, missed opportunities to bring out more of the play’s subtext, such as the significance of the opal gifted to Millie by her grandfather. It would also have benefited from more dramatic lighting that didn’t reveal so much of the bare stage.

Nevertheless, this is a production that warrants attention as an admirable initiative by Off the Ledge Theatre to provide Canberra audiences with the opportunity to experience the work of an impressive emerging Australian playwright in Benjamin Nichol.

                                                 

                                                         Photos by Andrew Sikorski




                                    This review also published in AUSTRALIAN ARTS REVIEW

    

 

KEROSENE

Kerosene by Benjamin Nichol.  

Directed and produced by Lachlan Houen. Assistant Director Anna Lorenz. Lighting design by Lachlan Houen and Liah Naidoo. Stage Manager Lucy van Dooren. Sound designer and composer Fergus Mashman.  Off The Ledge Theatre. Courtyard Theatre. Canberra Theatre Centre. July 16-18 2026. Bookings: 62752700.

 Reviewed by Peter Wilkins.

 

“Love is a stain I never want to fade.” It is a love brandished in the complex and confusing world of a young woman growing up, rejected and alienated and desperately searching for love and friendship.  Winsome Ogilvie gives a powerhouse performance as Millie, a young woman struggling to assert her identity in a world that is more prone to judge than to accept, to diminish rather than support and feed insecurity rather than inspire confidence and security. And yet Benjamin Nichol’s startling debut monodrama offers hope. His writing pulses with dynamic realism, uttering a voice that is singularly that of Millie, a battler, burning with defiance in a quest to discover herself. Ogilvie breathes a fire into her character fuelled by an inner resilience and the love for her best friend Annie, a love so strong that she gifts her friend an opal that her grandfather gave her.

Winsome Ogilvie is Millie
 in Benjamin Nichol's Kerosene

Nichol’s writing is visceral, plumbing the struggles of Millie’s coming of age and her passage from the onset of her menstrual cycle at the Lilydale Swimming Club to the awakening of a wider world. Through it all Nichol weaves the relationship of Millie and Annie and the abiding power of loyalty and unswerving love of a dear friend.

Director Lachlan Hoen presents Nichol’s intense monodrama in the sparse setting of the Canberra Theatre Centre’s Courtyard Studio against the blacks and with only Ogilvie to tell the story unencumbered by any setting. Only a variety of spots capture the shifting moments of Ogilvie’s 50 minute telling of her story. Nichol’s writing is powerfully evocative capturing the shifting emotions of a girl and a woman confronting life’s challenges. The language is from the heart, forceful, often profane, or poetically evocative. Ogilvie, alone on stage, embraces the text with all the passion and energy of Millie’s search for meaning and eruptive anger at Annie’s abuse by her partner that fires the urge for revenge. Together Nichol and Ogilvie forge a partnership that has resulted in a compelling and fiery performance. It has been said that all that is required for excellent storytelling upon the stage is two actors and a plank, and sometimes you don’t need the plank. Playwright Nichol’s debut work needs no plank and only Ogilvie to tell his tale. Ogilvie gives a performance that every aspiring young actor should see.

Kerosene sees the creation of a new partnership that promises to ignite an exciting new flame in Australian theatre and in the spirit of Millie’s final moment of love and hope, I await more collaboration between Nichol and Ogilvie under the direction of Off The Ledge Theatre Company’s Lachlan Houen. Houen is moving Off The Ledge Theatre Company to Melbourne but I hope that future work by this exciting new company will again be seen on the Courtyard Theatre stage.

kerosene

 

Written by Benjamin Nichol

Directed by Lachlan Houen

Performed by Winsome Ogilvie

Off The Ledge Theatre production

The Courtyard Studio, Canberra Theatre Centre to 18 July

 

Reviewed by Len Power 16 July 2026

 

Award-winning Melbourne playwright, Benjamin Nichol’s first play, “kerosene”, is as inflammatory as its title. A study of rage and loneliness in a time where we’re told we are more connected than ever, it is repellent and ugly but also touching in its cry for help and understanding.

Millie, a rough-talking and acting young teenager, revels in her friendship with Annie as they grow up. Annie leaves Millie behind as she starts dating a boy, but Millie clings to her friendship with Annie and cannot understand why things have to change at all. When Annie returns after some time, a victim of domestic violence, Millie takes out a shocking and remorseless revenge on Annie’s attacker.

This one person play is told from the point of view of the young teenager, Millie. As the years go on, we see her unable to change and grow emotionally, making her feel rejected and lonely. The underlying rage in her personality together with her isolation is the trigger for an explosive act.

Playing Millie would take a lot of courage. Canberra actor, Winsome Ogilvie, alone on stage for the whole play, gives a high energy, intense performance, showing a strong depth of understanding of this character. In the intimate space of the Courtyard Theatre, she’s confronting and like a caged animal prowling around looking for escape.

Winsome Oglivie (Millie)

Ogilvie gave a memorably fine performance of this tough character, but it needed more light and shade in her delivery. Starting at, and maintaining, such a high pitch, there was a feeling that she had nowhere else to go, when the story demanded an even higher level of intensity.

The stark production of the play with just lighting and minimal sound added to the realism and confronting nature of the show. It was certainly powerful.

 

Promotional photo by Liah Naidoo

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.

 

 

BULL

 

 

 

Bull by Mike Bartlett. Directed by Celine Oudin. Assistant Director Sophia Costello. Producer Chris Baldock. Lighting Design Rhiley Winnett and Celine Oudin. Set Lighting and Sound Operation Peter Fock. oncept, Design and Realization Chris Baldock. Costumes Cast. Photography Celine Oudin, Sophia Costello and Chris Baldock.  Mockingbird Studio. Belconnen Arts Centre. July 15 - 18 2026. Bookings: mockingbirdtheatrics.com

 Reviewed by Peter Wilkins

 

Rob Karlen as Thomas. Claire Walker as Isobel in BULL

Having seen Mockingbird Too’s production of Cock a couple of weeks ago and been very impressed by Playwright Mike Bartlett’s black comedy about the search for and affirmation of identity, I was curious to see Bartlett’s companion piece Bull in Mockingbird Theatre Company’s Belconnen studio. Bull too is set in a boxing ring, a striking metaphor for the dodging and ducking, circling and punching that is the cut and thrust of human relationship. The production is minimalist, devoid of props, enabling Bartlett’s sharp and brutal wit and sparse but jibing dialogue to galvanize an audience.  It did this in Cock with considerable success. Bull is a different matter. It is a cruel and nasty piece about office bullying casting a different meaning on the title of Bartlett’s expose of workplace bullying. Thomas (Rob Karlen) arrives with Tony (Zaid Fainstein) and Isobel (Claire White) for a meeting with their boss Mr. Carter (Paul Hutchison). Bartlett’s analogy with a bullfight is quickly established with Thomas as the hapless bull, cornered by the two bullfighters, Tony the swift and agile matador and Claire the decisive, needling second matador, both sent into the ring to finish off the broken beast. Thomas is no match for the two opponents who gang up on him and then feed Mr Carter the reason to deliver the final KO.

Paul Hutchison as Mr. Carter. Zade Fainstein as Tony in BULL

Bull is no Cock. The play runs for only about forty-five minutes and is needlessly repetitive. The scenario is quickly established and Karlen’s Thomas is quickly cowed, ridiculed and flattened to the mat. With tighter direction and more carefully staged choreography each bout may have had more impact as tension increased and Thomas’s desperate confusion and subjection to the bullying became more and more intense. Karlen captures the panic of the cornered beast, but it comes too soon and neither he nor  Fanstein and White are able to map out a deliberate and invidious trajectory to the bull’s eventual slaughter. A bullfight is a bloody and violent spectacle and an imaginative stylization of Bartlett’s theme would have had more variation than director Celine Oudin brought to this production. For a play set in a corporate business, only Hutchison’s Carter appeared in appropriate costuming. Bartlett’s text suggested a more formal attire.

Claire White as Isobel in BULL

Mockingbird Too provides opportunities for emerging actors and theatre practitioners to learn and develop their craft both on stage and behind the scenes. Artistic director and producer Chris Baldock is providing an important space in which to try out new approaches, take risks and learn. Cock and Bull are both examples of the possibilities that exist to develop and grow. For this reason alone, Bull has earned its place in the Mockingbird Too repertoire.

 

Murrudha: Sovereign Walks

 Visual Art Exhibition Review | Brian Rope

Murrudha: Sovereign Walks | Dr Matilda House, Brenda L. Croft, William James Mildenhall, Prue Hazelgrove, Dean Freeman, Cheryl Davison, Shane Herrington

ANU School of Art & Design Gallery | 7 July - 7 August 2026

In her capacity as team leader for the Australian National University (ANU) Indigenous Health and Wellbeing Grand Challenge, Professor Brenda L. Croft drew inspiration from her ancestors' sovereign acts. 

Protesting genocidal conditions imposed on them over eight decades of colonial and unsettler-colonial impact, more than 200 Gurindji (and related nations and clans) stockmen and their families marched off the 2nd Wave Hill Station in outback Australia in 1966. Together with an earlier sovereign action in 1963 by Yolngu people, their 22-kilometer Walk-Off Track garnered national and international coverage and support over nearly nine years of activism. It became seen as the origins of the national land rights movement.

In 1927, senior Wiradjuri walamira (clevermen) Nangar/Yangar (c.1848-1927) also known as Jimmy Clements), and Ooloogan (c. 1840-1928) also known as George John Noble and Marvellous together completed a 3 days, 93 miles (150 kilometres) walk. It was undertaken in order to demonstrate their sovereignty by being present for the official opening of the new federal Parliament House on 9 and 10 May on Ngambri/Ngunawal homelands in the, then, recently established national capital, Canberra. Contemporary press clippings acknowledge their participation as defending their sovereign rights to their traditional Country.

They walked from the Brungle Station (also known as Brungle Community), nestled between Gundagai and Tumut on Walgalu/Wiradyuri Country, across the Brindabella Range to Canberra. It has been (and is) the driving force for the Challenge project

Murrudha: Sovereign Walks – Track #14 is the fourteenth outcome associated with the Challenge project "Murrudha: Sovereign Walks – tracking cultural actions through art, Country, language and music".

The Murrudha team and First Nations community members have undertaken two test walks determining Nangar and Ooloogan’s route, with a final test walk undertaken for the 99th anniversary in May 2026.

This exhibition showcases creative-led research in progress since 2020, including audio-visual documentation, alongside creative art and craftworks by a number of First Nations, and some non-Indigenous, artists associated with the project. The room sheet available at the exhibition provides background information regarding the various significant people integral to the project.

At the exhibition’s official opening guests heard a great presentation by Dr Aunty Matilda House OAM singing up Country and were treated to a wonderful performance by the Djinama Yalaga choir. And exhibition curator, Professor Croft, spoke passionately about the project. I mention that because all of those things added wonderfully to the visual art on display.

Dr Aunty Matilda House OAM © Brian Rope

Djinama Yalaga choir © Brian Rope

Professor Brenda L. Croft © Brian Rope

There are 35 diverse works in the exhibition including three audiovisuals to spend time with, two artworks by Dr Matilda House on loan from the Canberra Museum and Gallery Collection, and three photographs. Two of the latter show indigenous people on the steps of Parliament House – one on 10 May 1927, the other on 23 November 2023. The third is of George John Noble aka Marvellous with a dog, pre-1926. These photos are by William James Mildenhall and Prue Hazelgrove.

Aunty Matilda House was born in 1945 and is a proud Ngambri-Ngunnawal woman who has determinedly pursued social justice for Indigenous people in the wider community. She is well known and respected, indeed loved, by the general community of Canberra, all of whom have been at various events when Aunty has welcomed them to Country. It is good to have her artwork included here.

Many Canberrans know about the Mildenhall collection which comprises more than 7,700 images on glass plate negatives and has significant cultural and historical value to all Australians. Hazelgrove specialises in the wet plate collodion process. The inkjet print from her original tintype nicely complements the Mildenhall works.

Still image from: Brungle to Canberra – Final Test Walk 4-8 May 2026 (Murrudha: Sovereign Walks – Track # 14), projection. Participants: Brungle First Nations community members, Bugang Bila Indigenous Rangers (Tumut, Brungle, Snowy Mountains area), Professor Brenda L Croft, Monika Duggan, Terry Cleary, Rohit Rao (ANU). Drone operator/A-V documenter: Colin Elphick, Numeral Creative. 

Dr Matilda House (Williams), Murumbeeja dooligah, 1996, Edition 1 /6. Printer Jan Hogan and Theo Trembly Studio One Inc Canberra. Canberra Museum and Gallery Collection.

Jimmy Clements (also known as Nangar, Yangar or ‘King Billy’) on the front steps of Parliament House, c. 10 May 1927. Photograph by William James Mildenhall. Inkjet print on archival paper. National Archives of Australia.

Prue Hazelgrove, Nangar and Ooloogan Descendants on steps of Old Parliament House, 23 November 2023, as part of Murrudha: Sovereign Walks – Track #4, 24 November 2023. Inkjet print on archival paper, (from original tintype, wet plate collodion process) on archival paper.

There is a superb acrylic gouache on rag board by Cheryl Davison, some beautiful wood coolamons by Dean Freeman, and an impressive bark canoe and wooden spears by Shane Herrington. And, last but not least, numerous high quality inkjet prints (from original tintypes) by Brenda L. Croft. Davison’s artwork is inspired by the river that flows from the mountains to the sea (a phrase Canberrans know well) through the Country of her grandfather. Making cultural objects allows Freeman to connect with what his Ancestors used in their daily lives. Herrington’s approach also fosters a deep connection to cultural heritage. Croft’s artworks here are some of her First Nations portraits created since 2019.

Cheryl Davison, Still on Country, 2026, acrylic gouache on rag board, 70 x 57 cm.

 

Dean Freeman, gulaman (coolamons) (installation), 2023-26, wood, dimensions variable

Installation image © Brian Rope

Shane Herrington, Murlin (bark canoe) 2026. Bark, bush string, dimensions variable

And Spears, 2026. Wood, bush string, dimensions variable

Installation image © Brian Rope

Brenda L. Croft, Julie (Dhulanyagan clan, Yorta Yorta/Wiradjuri/Wurundjeri Peoples), 2024 from the series Naabámi (thou shall/will see): Barangaroo (army of me). 42 x 27.9cm, inkjet print (from original tintype, wet plate collodion process) on archival paper.

Brenda L. Croft, Men of High Degree: Jim Everett – puralia meenamatta (clan plangermairreenner, Ben Lomond people, Cape Portland nation, north-east Tasmania), 2023. 42 x 27.9cm, inkjet print (from original tintype, wet plate collodion process) on archival paper.

 

There it is - art, Country, language and music. All feature in this excellent and important exhibition - and in planned associated events. Please see it in person if you are able to.

This review is also available on the author's blog.

THE MERRY WIDOW - Opera Australia - Joan Sutherland Theatre - Sydney Opera House.

 

Alexander Lewis - Julie Lea Goodwin and the cast of Opera Australia's "The Merry Widow"

 

Composer: Franz Lehar – Librettists: Viktor Leon, Leo Stein.

English translation by Justin Fleming.

Conductor: Vanessa Scammell – Director & choreographer: Graeme Murphy AO

Creative Associated: Janet Vernon AM – Assistant Director: Cameron Mitchell

Set Designer: Michael Scott-Mitchell - Costume Designer: Jennifer Irwin

Lighting Designer: Damian Cooper – Sound Designer: Jim Atkins

Presented by Opera Australia – Joan Sutherland Theatre, SOH July 8^th – Aug.18^th, 2026

Opening night performance on July 8^th reviewed by BILL STEPHENS

Julie Lea Goodwin (Hanna Glavari) and the male chorus of "The Merry Widow"

 

From its Perth premiere in 2017, Graeme Murphy’s exquisite staging of Franz Lehár’s delightful 120-year-old operetta for the Opera Conference was clearly destined to become an audience favourite.

This revival at the Sydney Opera House powerfully demonstrates why.

From the outset, Michael Scott-Mitchell’s sumptuous Art Deco set, enhanced by Jennifer Irwin’s lavish costumes and beautifully lit by Damian Cooper, offers a constant feast for the eyes.

Julie Lea Goodwin (Hanna Glavari) and the dancers of Opera Australia's "The Merry Widow"

Murphy makes full use of Irwin’s flair for designing costumes for dancers, by creating a series of gorgeous dance sequences: faux-traditional folk dances for the Pontevedrian party scene, cheeky can-cans for Maxim’s grisettes, and swooning waltzes for Hanna Glavari and Danilo Danilovich.

Julie Lea and the cast of Opera Australia's "The Merry Widow" singing "Vilja"

His finely nuanced direction brims with imaginative ideas, and his handling of the duets is masterly. It is hard to imagine a more breathtakingly romantic staging of the second-act story-song, “Vilja” which climaxes with Julie Lea Goodwin as Hanna Glavari seated on a giant water-lily frond, held aloft by four dancers in a Monet-inspired setting watched by Danilo from the shadows of the summer house.

Both Julie Lea Goodwin and Alexander Lewis are not only fine singers but also excellent dancers. With performers of such versatility, Murphy clearly relishes the chance to surround them with superb dancers and choreography that showcases their talents.

June Bronhill, herself an acclaimed Hanna Glavari, once observed that the only way to make operetta work was to play it truthfully. Goodwin and Lewis clearly understand this.

From the moment Goodwin appears as the wealthy young widow hoping to rekindle a former love affair, her dazzling smile and lustrous soprano voice radiate star power.

Lewis is a superb match as her reluctant paramour. Their scenes together generate a captivating frisson rarely seen on operatic stages, making them a bewitching pair and giving the production a compelling central focus.

Alexandra Flood and John Longmuir are also beautifully matched, singing superbly and playing “A Respectable Wife”, Valencienne, and her ardent would-be lover, Camille de Rosillon, with charming conviction.

Richard Anderson (Kromov) - David Whitney (Baron Mirko Zita) - Tom Hamilton (Konrad Pritschich) - Iaian Henderson (Raoul De St. Brioche) -Alexander Lewis (Danilo Danilovich) - Alexander Hargreaves (Diminik Bogdanovich) -Nathan Lay (Viscount Nicolas Cascada) singing "Women, Women, Women" in Opera Australia's "The Merry Widow"

The first-rate supporting cast includes David Whitney as Baron Mirko Zeta, alongside Benjamin Rasheed (Njegus), Richard Anderson (Kromov), Alexander Hargreaves (Bogdanovich), Jane Ede (Sylviane), Iain Henderson (de St. Brioche), Nathan Lay (Cascada), Helen Sherman (Olga Kromov), Tom Hamilton (Pritschich), and Dominica Matthews (Praskovia). All clearly relish the opportunities in Justin Fleming’s witty libretto to create delightfully silly, blustering characterisations.

Under Vanessa Scammell’s baton, the Opera Australia Orchestra gives an impeccable performance, capturing the authentic Viennese lilt of Franz Lehár’s irresistible score and ensuring this production will remain a treasured memory for all those fortunate enough to experience it.

 

Photos by Carlita Sari

 

                          This review first published in CITY NEWS ON 13.06.26

 

                          Also AUSTRALIAN ARTS REVIEW   https://artsreview.com.au/the-merry-widow-6/

THE ULTIMATE VEGAS SHOW - Boyd Productions - Canberra Theatre

 

JP Lane - Michael Boyd and Dancers in "The Ultimate Vegas Show"

 

Presented by Boyd Productions. Produced and directed by Michael Boyd.

Costumed design: Cathie Costello – Choreographed by Matt Browning

Production Manager: Sam Hume – Sound Engineer: Tom Hawker

Lighting & Technical Manager: Jeremy Dhen – Stage Manager: Journey Malone

Canberra Theatre July 9^th, 2026 – Reviewed by Bill Stephens

 

Besides being a world class illusionist, Michael Boyd is a busy entrepreneur, who never fails to amaze and delight with his spectacular productions shows. Among them Cabaret de Paris, Circus of Illusion, Mystique and The Christmas Spectacular.

Boyd’s latest creation The Ultimate Vegas Show follows the tried-and-true format of his previous shows which harken back to the glory days of the variety shows featured on the Tivoli circuit. These shows were usually centred around a star performer or vedette, supported by lavish production numbers, magicians, acrobats and comedians.

JP Lane and Dancers in "The Ultimate Las Vegas Show"

Central to previous Boyd Productions have been glamorous vedettes such as Rhonda Burchmore and Prinnie Stevens. But The Ultimate Vegas Show is designed around PJ Lane whose father was the legendary TV star, Don Lane, a name synonymous with Las Vegas where he practised his craft as the ultimate cabaret host.

Immaculately costumed in white tails and black bowtie, and flanked by six glamorous showgirls, Lane took the stage to the strains of “Puttin on the Ritz”.  

Tall, handsome, and bearing a striking physical resemblance to his famous father, Lane also possesses a fair dollop of his father’s easy relaxed charm and flair. He soon had the fascinated audience eating out of his hand.

He made several appearances with the dancers throughout the show, always immaculately costumed, and displaying some nifty dance moves, conjuring up memories of Dean Martin with his version of “Sway”, and Barry Manilow performing “Cococabaña”.

But it was his moving tribute to his father, with a medley of songs forever associated with Don Lane that really captured the audience. As he crooned songs like “One for the Road”, “I’ve Got You Under My Skin”, “Come Fly with Me” and especially “My Way”, many in the audience could be seen reaching for their handkerchiefs to wipe away tears.

Marcus Jackson and dancers in "The Ultimate Vegas Show"

No tears though for the leather clad, Elvis Presley impersonator, Marcus Jackson, who got the joint jumpin’ and the dancers into their bobby sox, with his sets which included the inevitable “Blue Suede Shoes”, “Tutti Frutti” and “Shake Rattle and Roll”.

He was a little more contained in the second half of the program when he returned in an iconic gold trimmed white jumpsuit to woo the audience with “Burning Love” and “Suspicious Mind”.

 Magician extraordinaire, Michael Boyd had reserved his best illusions for this show, drawing audible gasps as a sword appeared to skewer him. Then after being locked in a trunk, suddenly re-appearing, unbelievably, at the back of the theatre.

But despite the star-power of the featured performers it was the six hard-working, drop-dead-gorgeous dancers for whom the loudest applause was reserved.

Achieving the many quick changes necessary to display Cathie Costello’s spectacular costumes, while executing Matt Browning’s demanding choreography which ranged through hectic jive, exotic jungle rhythms, to elegant Las Vegas struts, all executed with remarkable precision and dazzling smiles, they provided the glamour, spectacle and pizzaz that ultimately transported the audience into the heady world of the ultimate Las Vegas Show.

 

Photos by Matt Osbourne

 

                           This review also posted in AUSTRALIAN ARTS REVIEW

                             https://artsreview.com.au/the-ultimate-vegas-show/