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| Carita Farrer Spencer - Zukeika Khan - Valerie Bader - Queenie van de Zandt in "Middle Raged" |
Written and Produced by Queenie van de Zandt and Tiffanie
Noack
Produced by Andrew Kay – Directed by Priscilla Jackman
Musical Direction by Robyn Womersley – Choreographed by
Sally Dashwood
Set/Props/ Costume by Isabel Hudson – Lighting design by
Trudy Dalgleish
Canberra Theatre Centre Playhouse July 8- 12th
2026.
Performance on 10th July reviewed by BILL
STEPHENS
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| Queenie van de Zandt - Valerie Bader - Zuleika Khan -Carita Farrer Spencer - in Middle Raged |
Every so often, regular theatregoers encounter a production
that exceeds expectations; whether through its design, performances, or content.
Middle Raged is one of those shows.
Promoted as the ultimate girl’s night out, with ‘rage’ the
dominant word in the title, the expectation was that the show would be a rant
about middle age and women’s issues, and that men should come at their own
risk.
However, the reality is that Middle Raged is a very funny, superbly written, mounted and
performed celebration of middle age. It proves as relevant to the few brave men
in the audience as it is to the women.
Thankfully, the show avoids man-shaming, even in sketches that
address issues such as memory loss and erectile dysfunction.
Inspired by conversations with hundreds of middle-aged
women, Queenie van de Zandt and Tiffanie Noack’s script is smart, incisive, and
packed with pithy laugh lines, all delivered with precision by a first-rate
cast.
Performed in intimate revue mode and directed with Priscilla
Jackman’s usual panache, Middle Raged seamlessly interweaves scripted
sketches with well-chosen contemporary and original songs.
Each cast member assumes a distinct persona: Valerie Bader
as Judy, Carita Farrer Spencer as Stephanie, Zuleika Khan as Karen, and Queenie van de Zandt as Queenie. Together, they represent women at various stages of
menopause.
The exception is a recurring gag in which Bader becomes
Brian and Khan becomes Mark, two hard-bitten sports broadcasters calling The
Menopause Marathon.
Not unexpectedly, menopause is a recurring theme. One
standout sequence has Bader deliver “A Brief History of Menopause” as a
PowerPoint presentation, wittily illustrated with whimsical images projected onto
Isabel Hudson’s elegant pink setting.
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| Carita Farrer Spencer - Sandy Klose (Bass) - Jillian O'Dowd (Drums) - Queenie van de Zandt - Robyn Womersley (Keyboards_- "Middle Raged". |
Hudson adds a clever visual touch by costuming the three
members of the classy on-stage combo; Robyn Womersley on keyboards, Sandy Klose
on bass and Jillian O'Dowd on drums, in elegant dusty pink suits that match the
setting.
A constant presence throughout, the trio provides delightful
backing vocals and excellent accompaniments, beginning with a tuneful welcome
as the audience enters the auditorium, including a boppy arrangement of Sia’s
“Chandelier”.
Although essentially an ensemble show, each performer has a
moment to display her considerable vocal chops. Zuleika Khan does so with a
powerful rendition of Missy Higgins’ “The Second Act”. Carita Farrer Spencer shines
in her virtuoso performance of “The To-Do List”, written by Gillian Cosgriff
with Noack and van de Zandt. Van de Zandt brings unmatched interpretive skill
to Tim Minchin’s poignant “Carry You”, for which he wrote new lyrics.
The highlight for this reviewer is “Herstory”, a send-up of
the musical Six written by Laura Murphy with van de Zandt and Noack.
With the aid of Isabel Hudson’s ingenious headdresses, the cast becomes Lady
Macbeth, Mona Lisa, Madam Butterfly and Jane Austen, each reflecting on the
condition of ageing.
If you are looking for a refreshing theatrical experience
designed to delight, challenge, surprise and embrace, even offer new ways of
thinking about age-old conditions. Watch out for Middle Raged when it
comes your way.
Following its Sydney and Canberra seasons, Middle Raged
will next visit Wagga Wagga on 14th and 15th July, and
Wyong on 19th July. Watch for additional dates to be announced.
Photos by Philip Erbacher
This review also published in AUSTRALIAN ARTS REVIEW.
