9 to 5 THE MUSICAL. Music and lyrics by Dolly Parton. Book by Patricia Resnick. Directed by Sarah Hull. Choreography by Lauren Chapman. Musical director Jenna Hinton. Queanbeyan Players. The Q, Queanbeyan. Oct 31-Nov 9.  

Judy (Sarah Copley), Doralee (Sienna Copley), Violet (Kate Eisenberg). 

(Photox - Canberra Photography Services)

Is it really over 40 years since the film 9 to 5 came out? Some aspects have dated but this musical still has all that gusto about women’s rights and justice in the workplace that made the film good. And it is good to see the women’s roles foregrounded. 

Young wide eyed Judy (Sarah Copley ) arrives  to take up a job in an office and is soon enmeshed in office politics. She has no skills, not even typing or photocopying, and has to learn on the go. Violet (Kate Eisenberg) has ambition and is a single mother but the males get preference when it comes to promotion. And Doralee ( Sienna Curnow) is looking for friends who will see her for the good and positive person she is.

The office is run by the uptight Roz (Shennia Spillane) who is very strict with the underlings but is secretly carrying a torch for the dreadful boss, Franklin Hart (Steven O’Mara). Franklin has no time for women’s rights or workers’ rights and is also up to some shady financial  activity. 

Excellent performances all round, with the three central women doing more than justice to the songs and the themes. This show is not all comedy and the production remains aware of that. . 

How the women plot their boss’s downfall and achieve some kind of workplace justice is at the core of the story and a big cast give it great energy and drive. Office furniture and walls move around with flexibility to create the many settings and there’s a somewhat 70s feeling to the costumes. 

Jen Hinton leads the pit orchestra powerfully in all the scores’s nuances and energy.  Choreographer Lauren Chapman creates some splendidly coordinated moves, especially with all those men in grey suits. And it is great to see some subtlety in the follow spot work.

The sound was not the best in the first half but came good in the second. 

In a way, despite the vigour of Parton’s songs we are really waiting for the title number, which is hinted at then finally used full bore at the end. Fans of the film will find much to satisfy in this production which is clearly a creation in its own right. 

Alanna Maclean.

9 to 5: The Musical - Queanbeyan Players - The Q.

 

Sarah Copley (Judy) and company  in "9 to 5: The Musical"

 “9 to 5: The Musical” - Queanbeyan Players – The Q, Queanbeyan.

Directed by Sara Hull – Musical Direction by Jenna Hinton

Costume Design – Samantha Marceddo – Set Design: Thompson Quan Wing.

Lighting Design: Jacob Aquilina – Sound design: Telia Jansen

Presented by Queanbeyan Players – The Q, Queanbeyan, Oct.31 – Nov. 9, 2025

Opening night Performance reviewed by BILL STEPHENS.

Kate Eisenberg (Violet) and male ensemble in "9 to 5: The Musical"

 Hard -working Violet, is employed in the offices of Consolidated Industries, and is   frustrated at continually being passed over for promotion for less talented men. After accidentally poisoning their boss, Franklin Hart, her two workmates, Doralee and Judy, persuade Violet to join them in a plot to kidnap Hart, and take over the running of Consolidated Industries.  

Such is the premise of “9 to 5: The Musical”, a female empowerment musical based on the 1980 film of the same name and given an exuberant production by Queanbeyan Players.

The main attractions of this musical are the songs by Dolly Parton, well sung by a cast of talented principals and the large ensemble;  choreographer, Lauren Chapman’s spectacularly staged production numbers; and Musical Director, Jenna Hinton’s  excellent band, so good, that many of the first night audience remained after the finale  to enjoy the play-out music.

Shennia Spillane (Roz) - Steven O'Mara (Franklin Hart) in "9 to 5: The musical"

However, whatever the charms the originating film, they seem to have evaporated in this strident musical adaptation. So that despite the best efforts of director, Sarah Hull and her team, it was difficult to become invested in the collection of charmless cardboard characters that inhabit this musical.

However, Steven O’Mara was particularly good at being bad as the impossibly misogynistic boss, Franklin Hart, even if his adversary, Violet, as interpreted by Kate Eisenberg, is so aggressive, that it is difficult to imagine how her management style would be any different to Hart’s when she took over the management of Consolidated Industries.   

Sienna Curnow (Doralee) and company in "9 to 5: The Musical"

A tendency to gabble her lines, together with her thick Southern accent, compromised the effectiveness of Sienna Curnow’s portrayal of the warm-hearted blonde, Doralee, making it difficult to understand what she was saying.

 Of the trio, only Sarah Copley, with a delightful comedic performance as the insecure, Judy, managed to capture the convincing tone for her character. Her self-discovery solo, “Get Out and Stay Out”, was one of the show’s highlights.

Among the supporting characters, Dave Collins as Joe, found warmth in his character, so that his second act duet with Violet,” Let Love Grow”, was another highlight.

Dave Collins (Joe) - Kate Eisenberg (Violet) in "9 to 5: The Musical"

Shennia Spillane is delightful, as Hart’s nosy secretary, Roz, who harbours a secret passion, while Andrew Taylor is extraordinarily cast-off-able, as Judy’s ex, Dick.

Elsewhere among the large cast, Joshua Galang (Josh), John Whinfield (Dwayne), Kirsten Smith (Kathy), and Kara Sellars (Maria) revel in their opportunities as various of the office dwellers at Consolidated Industries.

Thompson Quan Wing is responsible for the imaginative set design, Samantha Marceddo for the tasteful costuming, Helen McIntyre for the myriad properties, and Stage Manager, Sarah Morris for marshalling the large cast.

Jacob Aquilina and Telia Jansen created the Lighting and Sound Design and special mention to Sophie Hope-White for the delightfully clear and informative Printed Program design.         

 

                                               Photos by Ben Appleton - Photox

     This review first published in the digital edition of CITY NEWS on 1st November 2025.

 

 

9 To 5 THE MUSICAL

 

9 to 5 The Musical Music and Lyrics by Dolly Parton. Book by Patricia Resnick. Based on the 20^th Century Fox Picture. Arrangements and additional orchestrations Stephen Oremus and Alex Lacamoire. Orchestrator Bruce Coghlan.

Directed by Sarah Hull. Choreographer Lauren Chapman. Musical Director Jenna Hinton. Assistant Director Anna Tully. Production Manager David Tricks. Repetiteur Brigid Cummins. Stage Manager Sarah Morris. Costume design Samantha Marceddo. Lighting design Jacob Aquilino (Eclipse) Sound Design Telia Jansen (Eclipse) Properties Master Helen McIntyre, Queanbeyan Players. The Q Queanbeyan-Palarang Performing Arts Centre. October 31 – November 9 2025. Bookings 62856290 or www.theq.net.au

Reviewed by Peter Wilkins

 

Sienna Curnow (Doralee Rhodes), Sarah Copley (Judy Bernly), Kate Eisenberg (Violet Newstead) and Ensemble Secretaries

The year is 1979 and it’s a man’s world. But the times they are a changing and secretaries Violet Newstead (Kate Eisenberg), Judy Bernly (Sarah Copley) and Doralee Rhodes (Sienna Curnow) are out to champion the cause for women.

Consolidated Industries is led by CEO Franklin Hart, a hypocritical, lying, sexist and egotistical bigot (Steven O’Mara). It is time for the women to make a drastic stand to overthrow the patriarchy and show what it takes to restore integrity, dignity and respect to the worksplace.

The instant the ensemble launches into Working 9 to 5 as the opening number, bursting with gusto and verve it is obvious that Queanbeyan Players’ production of 9 to 5 The Musical is going to be one helluva powerhouse production.

Shennia Spillane as Roz Keith and Ensemble women

In recent years I have watched Queanbeyan Players cement its place as one of the leading musical theatre producers in the ACT and Qiueanbeyan. 9 to 5 The Musical is no exception. It is assisted by Dolly Parton’s lively music and lyrics and Patricia Resnick’s fun filled book of moments of hilarity and tongue in cheek satire. It’s no earth-shaker of a musical but it is based on a trailblazer of a film that gave voice to women and exposed the injustice of rampant sexism. More than that 9 to 5 The Musical is a showcase of the remarkable talent that continues to bring high quality amateur musical theatre productions to the community. Director Sarah Hull keeps the action rollicking along in a tightly directed work. She is assisted by Lauren Chapman whose chorography is stylish slick and diverse and can make every performer look good on the stage. The cream on the top of this cherry pie production is Jenna Hinton’s musical direction and the professionalism of an orchestra that is musically excellent and imbues the spirit of the show. Hull, Chapman and Hinton have cast an amateur cast that in this production are not only fabulous singers but also terrific actors.

Eisenberg is the long-time employee of the company, Violet, constantly overlooked for promotion by the misogynistic Hart. Copley’s naïve and innocent newcomer is a delight to watch on stage as Judy grows in strength and confidence, supported by her rebellious sisters in arms. Curnow brings a touch of Dolly to the trio and proves that Doralee is a force to be reckoned with. O’Mara’s Hart oozes sleazy sexism but in the end Pat Gallagher’s chairman of the board is no fool and it is inevitable in every good story that the villain should get his just desserts.

In a company as talented as this there are standouts. None more so than Shennia Spillane in the role of the devoted lackey, Roz Keith. Writer Resnick has cleverly drawn a character to contrast with the feisty trio. In a knockout number Heart To Hart, Spillane burns with unrequited love as her devotion to the lecherous Hart reaches orgasmic longings. As Violet’s lovelorn admirer, Joe, Dave Collins’s fine voice is layered with sentiment in his duet Let Love Grow with Violet.  Copley show Judy’s strength when she asserts her independence from a fickle ex-husband in Get Out and Stay Out.

Shennia Spillane as Roz, Steven O'Mara as Franklin Hart

My only criticism of this finely staged production of 9 to 5 The Musical is that the sound levels on Opening Night robbed the production of clarity of lyrics in the ensemble numbers and the subtlety of the show might have been enhanced by more sensitive modulation. This is an opening night issue and is easily fixed so that each number in the show is a unique rendition of Parton’s original numbers. This was less of a problem in the dialogue scenes and individual numbers such as I Just Might with Judy, Doralee and Violet or One of The Boys with Violet and the Boys.

Sienna Curnow as Doralee and Line Dancers

In a rousing Finale of Working 9 to 5 Queanbeyan Players hit the high note of a fun filled night at The Q. However, it is worth noting the 9 To 5 The Musical is no flibbertygibbit night of froth and bubble. The 1980 film with Jane Fonda, Lily Tomlin and Dolly Parton hit the screens almost fifty years ago. Australian society has come a long way since then with more women occupying CEO positions and the Chairs of important organizations. But what of the working woman, their working conditions and attitudes that prevent Violet’s demands of respect, integrity and dignity. Queanbeyan Players’ excellent production continues to blaze a trail for change as well as providing a night of first-rate entertainment.

The Orchestra: Conductor Jen Hinton, Guitars 1 and 3, Christopher Bennie and Lindsay Hunt, Bass Liz Collier, Reeds 1 and 2 Sarah Pfeiffer, Kirsten Nillson/Casey Paige Magnussen Trombone Maddy Upfold/James Harding. Percussion Tim Cole. Drums Stephen Barrat. Keys 1 and 2 Brigid Cummins and Lauren Duffy. Trumpets 1 and 2 Andrew Terracini and Chris Cutting. Pit Singers Hannah Miller, Luke Ferdinands, Rachel Baker, Hannah Osbourne.

Photography by Photox- Canberra Photographic Imaging

THE PLAY THAT GOES WRONG. Canberra Theatre Centre Playhouse.

 

THE PLAY THAT GOES WRONG – Canberra Theatre Centre Playhouse.

Written by Henry Lewis – Jonathan Sayer – Henry Shields

Directed by Mark Bell – Associate Director: Anna Marshall – Res.Director: Nick Purdie

Set Design: Nigel Hook – Costume Design: Roberto Surace

Lighting Design: Ric. Mountjoy – Resident Lighting: Jason Bovaird

Music: Rob. Falconer – Sound Design: Andy Johnson – Fight & Movement: Dave Hearn.

Performed by: Olivia Charalambous, Edmund Eramiha, Tom Hayward, Stephanie Astrid John, Joe Kosky, Jonathan Martin, Brodie Masini, Sebastiano Pitruzzello, Jack Buchanan, Anthony Craig and Kira Josephson.

Canberra Theatre Centre Playhouse: October 28^th – November 2^nd, 2025.

Performance on October 28^th reviewed by BILL STEPHENS.

Since first seen in London in 2012, “The Play That Goes Wrong” has been convulsing theatre goers around the world ever since.

It last visited Canberra in 2017, and obviously the impression left on that occasion was so positive that every one of the scheduled Canberra performances for its 2025 season sold out before the production opened.  

The premise is a simple one. The struggling Cornley Polytechnic Drama Society, having received a substantial bequest from a benefactor, has decided to pool all its resources on a slap-up production of a 1920’s murder mystery, “Murder at Haversham Manor”, a play which has just the right number of roles to suit its current membership.

The stakes are high, so the director, who also has the leading role in the production, is nervous. But everyone involved is determined to do their level best to ensure the premiere performance is memorable.

 And it is, but not for the reasons hoped. Because as the play proceeds the unfortunate cast finds itself coping with just about every on-stage theatrical mishap conceivable, brilliantly portrayed by an excellent cast of multi-skilled Australian and New Zealand actors, who, despite their best efforts, are ultimately upstaged by the set, which won a Tony Award for Best Scenic Design of a play.

This production is a carbon copy of the original West End production with every moment, and movement, timed to the second, and despite having been touring nationally since June of this year, the current cast still appear to be enjoying the mayhem and merriment as much as the audience.

For anyone seeking brilliantly staged classic slapstick comedy, “The Play That Goes Wrong” is a production that should not be missed.   

                         Images from the Original London production by Alistair Muir

      This review also published in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au

MAIN CHARACTER ENERGY -

 

Dancers performing "magic mirror, on the wall, who is the fairest one of all?"

MAIN CHARACTER ENERGY – The Chaos Project 2025 - QL2 Dance

Choreographed by Alice Lee Holland, Ruby Ballantyne, Olivier Wikner, Jack Ziesing.

Sound Engineer: Kimmo Vennonen – Videography: Liam Budge

Costume co-ordinators: Natalie Wade, Linda Uzubalis.

 Belconnen Arts Centre Theatre – 24^th & 25^th October 2025.

Matinee performance on 25^th October reviewed by BILL STEPHENS.

The Chaos Project is staged annually by QL2 Dance to introduce young dancers to the delights and challenges of the arts of dance and choreography.  Each year young dancers participate in an intensive two- week rehearsal period, under the direction of professional choreographers, to create works inspired by the theme set by the Artistic Director.

 For the 2025 iteration, the title “Main Character Energy” was chosen by Artistic Director, Alice Lee Holland, as both a challenge and inspiration for the choreographers and dancers charged with creating new original works.

As Holland explains in her program notes, the words “Main Character Energy” is a social media phrase, which emerged during 2020, encouraging individuals to live their own lives.   Holland’s process involves the use of improvisation to explore, uncover and develop each dancer’s individuality. Once that is achieved, her choreographers are charged to draw upon their own choreographic skills to shape those contributions into an original dance work.

QL2 dancers performing "Once upon a time..."

For her own introductory work, “Once Upon a Time …” Holland introduced the full company, costumed individually in black and white, sometimes marching across the stage, at others, performing shapes and variations, during which a bright red apple carried by each participant, became an intriguing symbol of how the program would evolve.

QL2 dancers performing "The Sidekick Revolt!"

A long-time favourite of QL2 audiences, and currently an internee with Legs on the Wall, Ruby Ballantyne also worked with nine of the youngest dancers for her work, “The Sidekick Revolt”. 

After requiring each dancer to complete a prepared questionnaire, Ballantyne utilised their answers as the basis for self-recorded, voice-over introductions by each.  

Performed with gusto and enthusiasm in jellybean costumes, their answers were telling, and the resultant, up-beat dance-work, entertaining. But the aftertaste was a chill, rather than a thrill, when the final tot offered “revolt!” as her solution to a stated problem.

Although contemporary children live in a world filled with images of protest, dissent and destruction, surely more optimistic solutions should be encouraged in children so young.  

QL2 dancers performing "Magic mirror, on the wall, who is the fairest one of all?"

 Olivier Wikner explored aspects of narcissism with her work, “Magic Mirror, on the wall, who is the fairest one of all?”  Working in pairs, and strikingly differentiating by individual overhead spotlights, the dancers carefully mirrored each other’s movements. As their sense of confidence and self-empowerment grew, they broke away from the restrictions of the spotlights and joined larger groups.

QL2 dancers performing "Goblin Market"

Jack Ziesing appears to have approached his challenge from a different direction. Obviously commencing with a strong idea of what he wanted to achieve, Zeising no doubt incorporated the ideas of his dancers into that concept, supporting them with strong design ideas for his costumes and lighting.

As a result, although working under the same restrictions, albeit, with older dancers, his work “Goblin Market” stood away from the others, not only because of the sophisticated execution of the finished work, but also because of the commitment and polish achieved with his dancers, even the youngest.

With her second work "Like Water" Holland encouraged her dancers to look for inspiration in the wisdom of the great sorcerers as portrayed in such works as "Star Wars" (Yoda), "Harry Potter" (Dumbledore), and (Lord of the Rings" (Gandalf). 

So costumed in shiny silver, her dancers, aged 8 - 16, set off, with staffs at the ready, set off in search of their destiny.

A QL2 dancer sets off in search of wisdom in "Like Water". 

 But, although we may have nearly forgotten the damsels, we had certainly not forgotten the apples which re-appeared in Holland's finale - "Oops, we forgot the damsels..." which ended with the dancers, costumed in earth colours, having discarded the apples, falling into a dream, perhaps deciding to look beyond the temptations to technology  and social media to discover their real personalities. 

The enthusiastic applause which greeted the well-staged bows referencing each of the works presented in the program, was convincing acknowledgement of the success of the 2025 Chaos Project.

                                       Images by Olivier Wikner. O&J Wikner Photography

 

 

 

ECDysis - Courtyard Studio - Canberra Theatre Centre

Elizabeth Cameron Dalman performing "Welcome Dance"

 

Choreographed by Elizabeth Cameron Dalman and others.

Lighting designer and technical director – Darcy Wiseman

Graphic designer and project consultant – Barbie Robinson

Audio visual consultant – Christopher Chu.

Canberra Theatre Centre Courtyard Studio, 24 – 26^th October 2025.

Opening night performance on 24^th October reviewed by BILL STEPHENS.

This extraordinary program was devised by Australian contemporary dance pioneer, Elizabeth Cameron Dalman, as a celebration of the evolution of her dance practice over six decades.

During that time, Dalman founded two dance companies, Australian Dance Theatre (ADT) in Adelaide, which this year is celebrating its 60^th anniversary, and Mirramu Dance Company which she co-founded with Vivienne Rogis in the ACT, which is also celebrating its 25^th Anniversary.

An important aspect of Dalman’s career has been the affiliations she has forged during her international travels as a performer and teacher.  Particularly significant among them being strong connections forged with Taiwanese dance artists, Christopher Chu, Yu Ming-chu, Peng Hsiao-yin (Grace), Chen Yi-Ching (Olivia) and Chen Fu-rong (Fufu); all of whom travelled to Canberra to participate in this program, along with Mirramu dancers, Vivienne Rogis, Miranda Wheen, Amanda Tutalo and Tammi Gissell.

Also special was the participation of the unstoppable nonagenarian herself, who not satisfied with recreating some of her most significant dance works, also performed in some, and shared hosting duties with Mirramu Dance co-founder, Vivienne Rogis.

To commence the program, the first part of which was devoted to works originally created for Australian Dance Theatre, Dalman performed Welcome Dance in the striking costume created for a production of Morning Star presented in the National Gallery in 2013.  

Time may have robbed her of some of her dexterity, but Dalman still possesses a remarkable presence. Therefore, the opportunity to witness her perform this work, was a rare and memorable experience.

Notable also was the fact that for the ADT section of the program, the majority of the costumes were the original ones created for the works in which they were danced.

At this performance excerpts from four works created during the 1960/70’s for ADT, the first of which was This Train, a 1965 work performed to songs sung by Peter, Paul & Mary, an American vocal group who had become personal friends of Dalman.

The excerpt featured three of the original seven songs which comprised This Train commencing with “Early in the Morning” danced by Miranda Wheen, Peng Hsiao-Yin (Grace), Fu-rong Chen (Fufu) and Chen Yi-ching (Olivia). A lovely solo "All My Trials" danced by Peng Hsiao-Yin (Grace) followed, then ""Blowin in the Wind" performed by Amanda Tutalo, Miranda Wheen and Peng Hsiao-Yin (Grace). 

Peng Hsiao-Yin (Grace) performing "All My Trials"

Beautifully interpreted by the dancers, this work contained many of Dalman’s signature moves, occasionally bringing to mind the styles of Alvin Ailey and Martha Graham; and also, of Eleo Pomare, with whom Dalman had a long collaboration.

Following this presentation, Dalman shared an amusing anecdote concerning the costume for her 1963 solo, Spiritual, created for her by Pomare. As costumes were always an important part of the development of Pomare's choreographies, before commencing his choreography, Pomare made the costume, cutting out the pattern and pinning the material on to Dalman. Vivienne Rogis then gave an incandescent performance of that solo, wearing that very same costume.

  

Vivienne Rogis performing "Spiritual"

A 1969 work, Creation Duet, inspired by Dalman’s enduring interest in First Nation’s mythology, was remounted for, and performed by Chen Yi-Ching (Olivia) and Chen Fu-Rong (Fufu) to whom Dalman gifted the work, in honour of her connection with their Taiwanese company, Dancecology.

Chen Yi-Ching (Olivia) and Chen Fu-Rong (Fufu) performing "Creation Duet"

Excerpts from a delightfully campy 1969 work, Homage to Botticelli, inspired by a visit to Florence, commenced with the entire company costumed as figures from a Botticelli painting. However, as the work progressed, the dancers transformed into spaced-out hippies, obviously having fun bringing the work to its exuberant conclusion. Aspects of this work probably raised eyebrows in 1969, but at this performance the audience delighted at being reminded of some long-forgotten dance moves.

 "Homage to Botticelli"

 The second half of ECDysis was devoted to works from the Mirramu Dance Company’s repertoire, commencing with a visually spectacular work entitled Mountain Skirts from a longer work, Bride in the Desert, created in 2003 in response to a visit by the company to the central desert of South Australia. Performed by Vivienne Rogis, Miranda Wheen and Amanda Tutalo, the work climaxed with an amazing costume transformation featuring billowing silk sails.

Vivienne Rogis, Miranda Wheen and Amanda Tutalo performing "Mountain Skirts" 

Several works demonstrated Mirramu Dance Company’s interest in social topics.  An excerpt from a 2009 work, River, was created as a response to concerns about the degradation of the Darling River.  An evocative solo, created and beautifully performed by Miranda Wheen for the 2006 work, Tango Lament, as a response to the closure of the dance department at Western Sydney University, and an affecting duet, Refugee, created in Taiwan in 2018 by Dalman and performed by Amanda Tutalo and Chen Fu-Rong (Fufu) on this occasion, needed no explanation.

  

Amanda Tutalo and Chen Fu-Rong (Fufu) performing "Refugee" 

But perhaps the most remarkable performance of the evening was that of Christopher Chu as a silkworm pupa chewing its way through the mulberry leaves  from which he makes the silk, before weaving the cocoon around himself, which introduced the 2002 work Silk, inspired by Dalman’s fondness for that fabric, for which he was joined by Vivienne Rogis and Yu Ming-chu as elegant consumers of his labours.  

The final work of the program was Family Tree created by Dalman with the dancers especially for this performance and performed by Dalman and members of both Mirramu Dance Company together with the five visiting Taiwanese dance artists as a celebration of the inter-cultural and cross-generational connections shared over the last twenty-five years.

Elizabeth Cameron Dalman and dancers performing "Family Tree"

                                                                    Photos by Sigo Tseng

   This review also published in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au

 

DRACULA - BIG Live - Canberra Theatre.

 

Ervin Zagadullin (Dracula) and Ghosts

Choreographed by Joel Burke – Composed by Toby Alexander

Set Designed by Eric Luchen – Lighting design by Dan Sharp

Canberra Theatre October 23^rd and 24th, 2025

Opening Night performance on 23^rd October, reviewed by BILL STEPHENS.

Co-founded in 2021, by Artistic Director, Joel Burke, and Executive Director Khalid Tarabay, BIG Live has quickly established itself as a viable competitor to the major subsidised companies for the presentation of classical ballet.

With an aim of providing employment for talented local dancers, the company began building its audience by presenting national tours of International Ballet Gala’s, ostensibly featuring imported star guest artists from major ballet companies from around the world, performing virtuoso solos and pas de deux, but also including talented local dancers contracted for each tour.  

Turning its focus to the presentation of narrative-driven presentations with inventive productions of “The Nutcracker” and “Romeo and Juliet”, both choreographed by  Artistic Director, Joel Burke, BIG Live claims to be the most attended ballet company in Australian and New Zealand, and with this production of “Dracula”, also choreographed  by Burke,  now employs a full-time company of 25 dancers.

This version of “Dracula” is a Joel Burke original. Having taken his inspiration from the classic Bram Stoker novel, Burke has taken substantial liberties with his storytelling, so that careful reading of the synopsis before watching the ballet is recommended.

 As well, freed from any requirement to adhere to a classic ballet score for his inspiration, Burke has set key sections of his production to well-known classical compositions, augmented by original music composed by Toby Alexander.  

Thus,  the opening prologue in which warrior, Vlad the Impaler, athletically danced by  Ervin Zagidullin, upon hearing of his wife’s death, renounces his faith, curses the Church ,sells his soul and slays everyone in sight, in a flurry of dazzling leaps and spins, before transforming into the ageless Dracula, all to the music of Mussorgsky’s “Night on Bald Mountain”.

Joel Burke and Abbey Hansen as Jonathan and Mina in "Dracula"

Midway through the ballet, Burke and ballerina, Abbey Hansen, as the young lovers Jonathan and Mina, celebrate their marriage in an ecstatic pas de deux, rich in gorgeous acrobatic lifts, to the music of Debussy’s “Clair de Lune”.  

The ballet ends with Mina, on realising that her husband Jonathan has also become a vampire, and having repulsed Dracula’s lecherous advances, takes a leaf from Vlad’s book and stabs Jonathan, Dracula and herself with a stake, in a rousing finale performed to the music of Tchaikovsky’s “1812 Overture”.   

While the use of familiar compositions from various composers in a full-length work can be justified, it can also prove a distraction for attentive listener’s jolted out of the story, by efforts to identify the source of a particular piece of music.

Throughout the evening, the dancing by principals Zagidullin, Burke and Hansen was exceptional. Zagidullin in particular, thrilling his audience with his highly polished technique and showmanship.  

Perfectly cast as the doomed young lovers, Joel Burke and Abbey Hansen were a romantic pair, together having perfected an impressive partnership, in which their confidence in each other’s technique, allowed them to portray the joy and anguish of their relationship with impressive sincerity.

Similarly, the attractive, well drilled corps de ballet, prettily costumed and perfectly in sync, delighted with their charmingly executed dances, even if those costumes, although providing a contrast, tended to feel that they belonged in a different ballet, due to the variance in the style and period, to those in the darker, gothic sections of the ballet.

Erwin Zagidullin (Dracula) and the four ghosts.

Outstanding too were the ghostly quartet, Giselle Osborne, Rose Maloney, Mia Zanardo and Bella Collishaw who moved as one when executing Burke’s elegant choreography and scaring the wits out of Jonathan and Mina.

And while Eric Luchen’s setting provided a suitably Gothic atmosphere, a little less gloom in Dan Sharp’s lighting design, would not have gone astray.    

Nevertheless, although purists might quibble at some dramaturgical inconsistencies or some choreographic repetition in the storytelling, the cheering capacity audience at this performance could not have cared less, obviously thrilled to have experienced a full-blooded balletic interpretation of a favourite story.

                                                        Photos by Craig Ratcliffe

This review also published in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au

THE WOLVES

 

 

The Wolves by Sarah DeLappe. 

Directed by Chris Baldock.  Assistant director Steph Evans.Set designer and Realisation and Sound designer Chris Baldock Stage Manager Seth Burr. Lighting design Rhiley Winnett.and Chris Baldock. Projections Rhiley Bennett. Operated by Seth Burr. Cosrumes and props. Chris Baldock, Steph Evans and then cast, Soccer coach Anto Hermida. Wig styling Annabelle Twomey.  Mockingbird Theatre Company. Belco Arts. Belconnen Arts Centre.  October 15-November 1 2025. Bookings: chris@mockingbirdtheatrics.com or 0422 293 152

 

Reviewed by Peter Wilkins

 

Under  Chris Baldock’s tightly staged direction,Sarah DeLppe’s play about a female soccer team rings with authenticity. On a soccer field in suburban America The Wolves all female team train in preparation for their matches over a period of weeks. In the intimate setting of Mockingbird Theatre Company’s  studio theatre at the Belconnen Arts Centre, the eight actors entice us into the lives of the players as they perform their training exercises and interact with each other on Baldock’s neatly compact set design of the soccer ground and the net with the image of the teams’s logo, the face of a wolf sets the scene for the action of the play..

Set in 2016, The Wolves echoes with the dramatic voice of personal experience. There is a sense of personal reflection by a playwright who has keenly observed the conversations of her teammates during training. Mockingbird’s production is played with faithful observance of the American setting  and the performances of the local actors while truthfully observing DeLappe’s time and location lend the production contemporary relevance. The conversations may refer to contemporary American historical events such as Iraq, Afghanistan and Khmer Rouge, but it takes only a small leap of the imagination to  align with Gaza, Ukraine or Sudan. Gradually the conversation shifts from the global to the personal.  The team, united in their membership of The Wolves, reveal the individual identity of the pack. DeLappe cleverly introduces each member of the team, revealing their lives, their opinions, their fears, their arguments and accusations and their cameraderie. 

Baldock has carefully allowed each actor to emerge from the team and we begin to see past the game, past the imaginary soccer ball being passed from one to the next and enter into lives that are deeply personal, individual and meaningful.  DeLappe’s dialogue, like conversation in a group leaps from one to another and at times it becomes difficult to follow the connection as each incident is linked to the chain of events that will culminate in the final team cry before going onto the field to face the competitor. With less astute direction and less impactful performance this could result in perplexity. As it is, Baldock has created a performance that is intriguing, gripping and often very moving on an emotional level, such as Chloe Smith’s heartwrenching performance as the soccer Mum who navigates the sorrow of shattered nerves at the loss of a daughter who had been a member of the team.

Ultimately, the work is an ensemble piece. In the spirit of teamswomanship. Each actor excels in drawing us into her life. Although it may be a fleeting argument over ethnicity, or a painful revelation of an abortion or a moment of shared hilarity or fearful anxiety, the actors remind us that they share a common bond, the dream of victory, not as individuals but as a pack, united in their ultimate goal.

Baldock has chosen two casts to play the team members, the Lupin Cast and the Lycan Cast. I saw the Lupin cast.  The performances were faultless, entirely convincing and true to the character. It was a delight to watch these young actors immerse themselves in DeLappe’s world and capture the very nature of their characters. There are still not enough plays with all female casts and it is a joy to see one performed with such intelligence, insight and flair.   

Mockingbird’s production enlightens us to the fact that we are all part of a complex social structure, made of individuals living very different lives and yet striving for a common goal. It is to the credit of Baldock and his cast and creatives that they could so professionally and enjoyably convey DeLappe’s  message to Canberra audiences. Don’t miss this unique and special production.

The Lupin Cast: Eleanor Graham or Grace O’Mahoney, Edith Baggoley, Asha Forno, Catherine Elias, Georgia Motto, Marcelle Brosnan, Elioza Thomson, Anneka Steel, Jo Hogan, Chloe Smith – Soccer Mum.

The Lycan Cast: Eleanor Graham, Zara Huber, Jennifer Noveski, Susan Brown, Ainslie Bull, Jayde Dowhy,Grace O’Mahony, Eva Loxley, April Teifer, Ruth Hudson – Soccer Mum 

THE LISTIES

 

The Listies   

Written and performed by The Listies.The Q. The Queanbeyan Performing Arts Centre. October 24-25 2025

Reviewed by Peter Wilkins

The Listies, Richard Higgins and Matthew Kelly are the masters of “kidult”entertainment with a wacky show designed to make kids and adults laugh themselves silly. Judging by their latest show at The Q, the very young and the very old were having a fun-filled time as Higgins and Kelly served up a storm of corny jokes, silly sight gags, slapstick and the customary bum and fart jokes. Originally called The List Operators, The Listies use lists to structure their one hour comedy. The latest list includes the things one needs to get done before leaving the house on time and not be late! Each task becomes the  action of their short improvised scenes, aided and abetted by an enthusiastic audience of willing volunteers.On butcher’s paper, Rich has written 1. Get Up , 2 Have Breakfast, 3. Pack the bags, Do the chores and 4. Leave on time.

What makes this show such a laugh a minute romp is its tried and true formula for the comedy duo. It is a tradition practised to perfection by the likes of Abbott and Costello, Laurel and Hardy, Morecombe and Wise and Lano and Woodley. Rich is the straight man, practical and intent on doing the right thing. Matt is the daffy clown, exasperating, irresponsible, unpredictable with the  concentration of a jumping jack, sparking off in all directions. And yet, Matt eventually proves that you can’t judge a clown by his costume.

Higgins and Kelly have got the routines down pat. Their timing is slick, their gags come thick and fast and the young audience join in with excited response to the old “Where” question  or  jump to their feet to make the invisible pancakes for breakfast. They laugh with wicked delight at the realization that the projection of  pears and tomatoes and apples look like  a person’s behind, And the unexpected fart brings squeals of laughter. It’s all good fun but never overdone and The Listies know their audience down to a tee.

The final chore is one that every kid knows well. “Clean your room!” When it comes to the Matt cave this is no easy ask. The Snotness Monster  is a pun that like to corny gag is there to keep the adults amused. Fortunately the blow up monster soon meets its fate at the finger on the triggerof a toilet roll gun and a stage littered with reems of toilet paper. Largely improvised, the show is tight and the list keeps the action on course so that there is no time for minds to wander.  The energy explodes and the hour passes in a flash.  And Matt is not as silly as he seems.

For kidult fun, The Listies are well placed on your list of shows to see.

 

THE MUSICAL OF MUSICALS - Everyman Theatre - ACT Hub

The cast of "The Musical of Musicals" - performing the "Speakeasy" segment.
Louis Blomfield - Will Collett - Jarrad West - Nick Griffin (Piano) - Hanna Ley. 

Written by Joanne Bogart and Eric Rockwell.

Original Canberra productions directed by Duncan Ley and Duncan Driver.

Rehearsal Director: Duncan Driver – Musical Director: Nicholas Griffin

Choreographed by Hannah Ley and Jarrad West – Rehearsed by Meg Millband.

Stage Manager/Lighting/ Sound Designer: Nikki Fitzgerald – Costume designer: Fiona Leach

ACT Hub 17 – 25^th October 2025 – Performance on 22^nd Oct. reviewed by BILL STEPHENS

The Cast of "The Musical of Musicals" performing "Corn!" 
Louisa Blomfield - Hanna Ley - Will Collett - Jarrad West

Originally presented in Canberra by Everyman Theatre for sell-out seasons in 2009 and 2010, this delightful parody of Broadway musicals is given a nostalgic revival by Everyman, with most of the original cast intact.

Written by Joanne Bogart and Eric Rockwell and premiered Off-Broadway in 2003, “The Musical of Musicals” is written in five acts. The conceit being that each act is constructed as a stand-alone mini musical involving the same four characters enacting basically the same story, about the ingénue who can’t pay her rent; a dastardly villain who offers to pay her rent, but at a price; and upstanding hero who offers to pay her rent, whether or not he can afford it; and a worldly older woman to whom the heroine turns for advice.

Each mini musical is written in the style of a different Broadway composer or composing team.   

The challenge for the actors is to portray the style of the original productions while coping with the silliness of the invented storylines that include singing, dancing, clowning and endless costume changes.

None of which seemed to faze this cast, who tackle challenge brilliantly, with the help of virtuosic piano accompaniment from Nick Griffin and lightning-fast costuming solutions by Fiona Leach.  

The fun for the audience of course is testing their knowledge of Broadway musicals by recognising the source of the references, while finding time to catch a breath between guffaws.

The actor’s challenge is obviously addictive because Hanna Ley returned from England to reprise her original role as ingénue, June, (“I can’t pay the rent”). Jarrad West reprises the dastardly, Jitter, (“You must pay the rent”), Louisa Blomfield reprises her role as the kindly older woman, Abby, to whom June turns for advice, (“Follow your dream”).

Louisa Blomfield (Abby) - Will Collett (Willy) in "Corn!" a sequence in
"The Musical of Musials"

New cast member, Will Collett, returned from Korea to step into the role of the handsome hero, Willy (“I’ll pay the rent for you”), the role created in the original Canberra productions by Adrian Flor.  Original co-director, Duncan Driver was on hand to rehearse the madness, before becoming the jovial commentator, willing and able to keep the audience informed regarding any gaps in the storylines.

But perhaps the biggest challenge of all is that undertaken by Musical Director, Nicholas Griffin, who single-handedly provides the accompaniment for the entire show, while still finding time for his own costume changes and special effects.

Musical Director, Nicholas Griffin during the "Speakeasy" sequence of "The Musical of Musicals".

The show moves at breakneck speed, requiring concentration from the audience to catch all the references. Bliss for musical theatre devotees and still rewarding for those not particularly attracted to musicals, but able to appreciate the inspired clowning of this pitch-perfect cast, obviously revelling in exercising their vocal, terpsichorean and clowning skills.   

The opening act, entitled “Corn!” parodies the musicals of Rogers and Hammerstein, so watch out for references from Oklahoma, Carousel, The Sound of Music, The King and I, Cinderella, The Flower Drum Song and South Pacific. Of course, there’s a dream ballet and a happy ending.  

Stephen Sondheim receives his comeuppance with “A Little Complex”, wickedly referencing his esoteric musicals, Into the Woods, Company, Sweeney Todd, A Little Night Music and Sunday in the Park with George.  

An act entitled “Dear Abby” targets composer, Jerry Herman, referencing his shows Mame, Hello Dolly, La Cage aux Folles, and Dear World; while “Aspects of Junita” is a sung-through pop-opera that rifles through such shows as The Phantom of the Opera. Evita, Jesus Christ Superstar, Sunset Boulevard, Cats, Joseph and the Amazing Technicolor Dreamcoat and Starlight Express for a storyline that would make even Andrew Lloyd Webber cringe.

Hanna Ley and Jarrad West channelling Andrew Lloyd Webber during the "Aspects of Junita" sequence of "The Musical of Musicals"

“Speakeasy” gives the cast opportunity to wear skimpy clothes, adopt outrageous fake German accents and dabble in debauchery as they plunder such musicals as Chicago, Cabaret, Kiss of the Spider Woman and Liza with a Z to parody the musicals of Kander and Ebb, before “Musical of Musical” reaches its glorious finale with an irritatingly familiar song entitled “Done” which devotees will recognise as strikingly familiar to “One” from A Chorus Line.

One of the pleasures of attending shows at the ACT Hub is marvelling at the clever ways with which the directors utilise the space for their productions. For this production, however, the design has the audience seated in a semi-tiered situation.

As a result, poor sightlines for audience members seated beyond the first couple of rows, make it almost impossible to see the actors whenever they were performing at floor level, especially if they were stooping or lying on the floor, and disappointingly, compromising the effect of the excellent choreography.

Similarly, as so much of the enjoyment of the satire is dependent in catching the brilliant satirical barbs, the decision not to amplify the actors, despite their undeniable actorly skills and experience, meant that much vocal information was lost.

Nevertheless, shows as wickedly enjoyable as “Musical of Musicals” are all too rare, so don’t miss this opportunity to see it performed by a topline cast.




                                                          Images by Michael Moore